isadora travel set

• Announcements
• Patch Notes
• Developer Blogs
• End Game Systems
• World & Story

Isadora's full set bonus reduces cost of all abilities, not only necrotic ones

Played caster shaman (Tornado, Wolves, Entangling Roots, Thorn Totem), and used all 3 Isadora’s items for their individual effects (acst speed, added damage, health/glancing blow etc). Then I noticed my abilities cost has decreased. Quick testing revealed it’s Isadora’s 3 items set effect. Not sure if it affects any ability or only Physical ones, but it should only affect Necrotic, right?

good catch, you’re right, it’s only supposed to affect necrotic abilities, I’m working on it for the next patch.

This topic was automatically closed 60 days after the last reply. New replies are no longer allowed.

• Isadora's Set Equipment

Isadora's Gravechill

• VisualEditor
• View history

Isadora's Gravechill are set Gloves  based on the Noble Gloves  with a level requirement of 8.

Lua error in Module:Equipment at line 106: attempt to concatenate field 'ThirdImplicitType' (a nil value). Lua error in Module:SimilarEquipment at line 38: attempt to concatenate field 'ThirdImplicitType' (a nil value).

35 Best Women's Loungewear Sets to Pack on Your Next Trip

By Madison Flager and Paris Wilson

All products featured on Condé Nast Traveler are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

Some may argue that traveling by plane is an occasion to dress up, but for most of us at Traveler, comfort is the main priority when planning a transit day ensemble: You want something loose enough that you won't need to readjust (or worse, unbutton) a few hours into a flight or road trip, but put-together enough to feel that you've made a switch out of pajamas and into a true outfit. Luckily, there is no shortage of loungewear sets these days.

Read on for 35 of the best loungewear sets to add to your travel wardrobe , many of which are sitting in our editors' dresser drawers. From upscale sweatsuits to cozy cashmere knits, they'll keep you comfy whether you're sitting on a plane, train, or in the passenger seat, and will get a re-wear on lazy vacation days when the only item on your to-do list is lounging around the Airbnb .

This article has been updated with new information since its original publish date. Additional reporting by Meaghan Kenny.

The Aerie LumberJane collection has been one of the brand's more popular releases. The collection features breathable, lightweight waffle fabric in shirts, shorts, and now polos. The LumberJane polo and short set are perfect for lazy vacation days spent shuffling around in your slippers . Each piece has raw seams along the sleeves, sides, and back that gives it a more lived-in look.

Buck Mason is at the forefront of elevated essentials. The Vintage Interloop set features an oversized crew that has a relaxed fit all around and thinly ribbed stiching on the cuffs to give more structure to the slouchy sleeves. The French terry sweatpants are slimming and so comfortable. Each set looks slightly different than the other, thanks to Buck Mason's Venice Wash technique that creates its cool, vintage look.

We're always raving about Girlfriend Collective, a size-inclusive, sustainably- and ethically-made brand. This set is made from half recycled, half organic cotton. They're available in your classic neutral colors, as well as this rich wine hue.

Kim Kardashian's shapewear and loungewear brand Skims never misses when it comes to cozy sets. The Cotton Fleece collection is a more sporty take on classic loungewear. The soft fleece shorts have an interior drawstring at the waist for a more customizable fit.

This chic pullover and sweat shorts both don the recognizable Alexander Wang logo. While the set is one of the trendiest pieces on our list, you'll be pleasantly surprised at just how soft the heavy brushed cotton terry is. Style the set with a small crossbody bag and pair of chunky dad sneakers for quick errands or walks around the city.

You can never go wrong with a simple high-waisted pant and tank top combo. The Anrabess sleeveless set is lightweight and thin, making it supremely packable in any weekender bag or carry-on. At just $30, it is one of the most affordable loungewear sets on our list.

Is there anything easier than throwing on a jumpsuit? Spanx AirEssentials jumpsuit is one of the brand's bestsellers—and it's just been restocked in more colors. We love the drawstring tie at the waist that gives the jumpsuit a more fitted and flattering look.

Traveler 's commerce producer, Paris Wilson , swears by Roots' loungewear. “I've been raving about Roots for years. It's hard to find a brand that doesn't skimp on quality,” she says. The Luxe Crew and Pintuck pant are made from a cotton and cashmere blend. While the material gives it a more chic look, the fit of the set is more relaxed and loose. This can easily be dressed up or down, and would look great with a sleek pair of white sneakers .

The loose fit of the Ramona sweatshirt compliments the brand's drawstring waist Jane shorts. The rouched terry fabric on the inside of each garment keeps you warm and cozy without overheating. As warmer days approach, the yellow dip-dye design is a must-have for your spring and summer wardrobe .

If you're looking for a more polished look, the Malibu set is for you. The set is made up of the Frank & Eileen Audrey Capelet and the Catherine Sweatpant . Each piece is made from 100 percent cotton triple fleece, making it incredibly soft. It's the perfect set for a long road trip or a chilly plane.

The Cool Stretch collection from Pact is made from breathable organic cotton. The soft, thin layers are a go-to summer fit when temperatures are high and you just want to chill inside. The tank top and shorts set comes in seven colorways and can be paired with Pact's Airplane cardigan or a cozy hoodie .

If you prefer something a little more roomy, the Oversized Tee and Harem Pant set from This is J is for you. It’s perfect for long-haul flights and road trips where comfort is at the top of your list, but you don’t want to step out in your pajamas. The soft, moisture-wicking fabric will keep you dry and comfortable whether you’re snuggled up on a train or plane.

This set is made for cold weather. The thick fabric will keep you warm and toasty whether you’re hanging inside with friends or out sightseeing. The top has a dropped shoulder sleeve that looks more oversized while the pants feature a wide-leg with a drawstring waist.. The set comes in 10 solid colors that are easy to pair with a slip-on sneaker or Ugg boots .

The soft ribbed knit of the Muse hoodie and sweatpant offers a lot of dimension to the duo. The set is lightweight enough that it can be worn over workout clothes without any bulkiness. The high-waisted joggers pair well with the cropped hoodie and offer a more chic silhouette.

You’ll be comfortable from head to toe with this ultra-soft pullover and pant set. The pants have a classic ‘70s wide-leg silhouette accompanied by an elastic waistband, while the pullover has a polo-inspired collar and a slightly cropped hem. An all-white set never goes out of style and will look great with a white sneaker .

The name tells you everything you need to know. The Coziest Cashmere Blend hoodie and jogger are ultra-soft. The fabric is warm yet breathable and the fact that it’s a blend gives you peace of mind that it won’t be ruined in the washing machine.

Traveler editors swear by Lunya's washable silk pajamas and cashmere Travel Set . The brand’s Silksweats complete its holy trinity of comfort. With a sherpa interior and thermoregulating abilities, you'll be comfortable without overheating in this set. Bonus: Both pieces are reversible so you can have two looks for one.

There's something to be said for a zip-up sweatshirt, even if they've largely been replaced by pullovers of late. For one, if your temperature flips from chilly to warm, you can regulate without bothering your seatmate while trying to take off your hoodie. We're a fan of the sweatpants, too: the deep pockets, cuffed ankles, and cashmere fabric are all plusses.

A new addition to OV's ultra-soft, lightweight, and durable CloudKnit line-up : this boxy T-shirt with a slightly cropped fit. It comes in charcoal, navy, mocha, fog white, and jasmine blue, all of which will match your go-to black leggings or joggers .

Awarded one of Oprah's Favorite Things in 2020, I was eager to put on Cozy Earth's ultra-soft joggers, and am happy to report they lived up to the hype. Made of a mix of premium viscose from bamboo, acrylic, and spandex, they're smooth and cool to the touch, and have a loose but not baggy fit. I've worn them a ton on WFH days, and would happily fly in them. Snag a matching pullover if you like the matching set look.

San Francisco–based Quince launched a maternity collection, which includes a nursing-friendly long sleeve and lounge joggers with an adjustable drawstring waistband. All of the collection's pieces are made with renewable materials like Tencel lyocell, a biodegradable fiber made from wood pulp; mulberry silk, a hypoallergenic and thermoregulating fabric; the company's SuperSoft fabric, a blend of recycled polyester and tencel; and sustainably- and humanely-sourced Mongolian cashmere.

Outdoor Voices’ All Day hoodie and sweatpants set really is made to wear from dusk to dawn. It aims to be the softest pair of sweats you will ever wear, and stacks up, with a CloudKnit fabric that feels as cozy as your most worn-in pair of pajamas. The sweatpants are high-rise and more fitted toward the bottom to give the most flattering look possible, too. The pieces can be bought individually and come in six different colors, from neutral charcoal to a rich Kalamata purple.

While former Traveler editor Jessica Puckett's favorite cashmere set has since sold out, Cuyana's Pima outfit is another great option for plane travel and lounging, particularly in warmer environments, as the material is soft, smooth, and breathable.

Former Traveler editor Corina Quinn turned us on to Vuori's DreamKnit Collection hoodie and jogger set. “The DreamKnit feels like a cloud—it's so soft and cozy, yet lightweight, so you don't get too hot or too cool in them,” she says. “On top of that, because there are a few different models of jogger pants and tops, my friends and I have all found a model that's flattering for us.” For a pair of sweats that make you feel like you’re wearing a real outfit without actually doing so, Vuori’s unbelievably soft, stretchy sets are an easy pick.

Friend + Folk is a size- and gender-inclusive brand that prioritizes a limited carbon footprint, and puts it into practice by way of free carbon neutral shipping, recyclable and plastic-free packaging, limited batch-production, and more. The Joon joggers are a favorite—the fit is roomy and comfortable yet still tailored, and the zippered pockets are ideal for stashing AirPods, lip balm, and other odds and ends without worrying they'll fall out as you dash through the airport. Pair them with the Perry pullover and you've got a new airport uniform.

Lululemon may be best known for its leggings and workout wear, but don't skip over the brand's loungewear. This set is made out of a smooth Softstreme material that is stretchy and feels smooth against your skin. It's a great loungewear set to wear if you run hot.

We love this Madewell number, made of a fleece-like Superbrushed terry fabric. Wide legs and a loose fit make it just the kind of thing we want to wear on long travel days, and the patch pockets are much appreciated. Since it does have tank top-style straps, bring a cardigan or other added layer for the plane.

Some loungewear is better suited for inside wear, like this cozy ribbed shorts set. Wear the pullover, with its bell sleeves and slit in the back, over leggings for long-haul flights. The stretchy shorts have a fairly short inseam, so they'll likely be more comfortable as a sleeping short or loungewear piece to change into when you arrive at your hotel or rental house.

This two-piece set might be the closest thing to sleepwear on this list, and yet is still cute enough to feel confident while wearing through the airport. It comes in a dozen colors, from basic heather gray to bold indigo blue, and pairs slouchy, relaxed fit pants with a scoop-neck button-up henley.

Sure, all sweatpants are designed to be comfortable, but the cotton, modal, and spandex fabric Knix uses takes things up a notch. The smooth, cooling, and slightly stretchy fabric feels fantastic against skin and looks a bit more put-together than typical sweatpant material.

Most loungewear tends to follow the same cut, so we appreciate Monos, a luggage brand , shaking things up when delving into clothing. This set is as soft as any sweatpants out there, with a mid-length wide-leg pant and a short sleeve V-neck tee that's just slightly cropped.

Anything labeled Signaturesoft nails both the rest day and flying-comfortably mood we're going for. The top and bottom have a streamlined shape and the sweatpants are tapered at the ankle. Both pieces are made of a comfortable rayon, acrylic, and spandex mix, so you’ll feel cozy while still looking put together. The sweatshirt and sweatpants can be purchased individually and come in nearly a dozen colors should you want to mix and match, and the sweatshirt passes the video-conferencing-chic test, in that it looks more like a standard sweater than workout wear.

Not a hoodie person? You might like this cowl-neck top, which comes with cropped pants, both made of a super soft jersey and spandex fabric. Shop the set in gray, sky blue, strawberry, or buttercream, and wear it on your next overnight flight to feel like you're in pajamas.

You may never want to put on pajamas again after wearing Softwear's Lounge Set. The fabric is buttery soft inside and out. Both the pullover and joggers are tailored and fitted with a clean silhouette—the top could pass for a normal sweater—while still being ultra soft. Plus, it’s long-lasting: The sustainable fabric is pilling-resistant and made to keep its shape after every wear.

Made for pregnant or nursing moms, this Everly Grey set is designed to fit a baby bump and make nursing easier with side openings on the top. Made of stretchy fabric with cuffed ankles and wrists and pockets on the hips, it's a loose, ever-so-slightly tailored look you'll wear again and again. Order it in one of four neutral colors: black, charcoal, oyster pink, or denim blue.

Parece que JavaScript está deshabilitado en su navegador. Para la mejor experiencia en nuestro sitio web, asegúrese de activar Javascript en su navegador.

• Mis direcciones
• Mis pedidos
• Mis favoritos
• Cerrar sesión
• My Wishlist

Best Luggage in 2024: Save $375 on a 3-Piece Luggage Set

You're going to look like a travel pro with these luggage options from calpak, royce & rocket, and paravel..

The products featured in this article are from brands that are available in the NBCUniversal Checkout Marketplace. If you purchase something through our links, we get a commission.

Your spring and summer travel plans deserve the best luggage . No matter if you're gearing up for business travel, international travel, or just a quick weekend trip across state lines, you need carry-on luggage and checked luggage that can stand the test of time and trends.

Travel with the best luggage in 2024! Our shopping experts have rounded up the best luggage, including the best luggage brands, to help you create the best luggage set for you and your journey.

These suitcases, rolling luggage, and travel bag options will help keep your things organized and safe while helping you look put together at the airport or on the road.

Below, you'll find customer-loved rolling luggage, carry-on bags, hard-side luggage, soft-side luggage, bags with a TSA lock, packing cube options to maximize organization, and so much more .

These travel must-haves from bestselling luggage brand options offer more than just wheels. We chose rolling luggage and travel bag carry-ons that include tons of pockets and pouches for toiletries, electronics, pet supplies , and wet items like swimsuits.

Many of our selected suitcase options offer expandable capacity, which is a great option for travelers who tend to bring a souvenir (or 10) home for friends and family.

Shop a must-see luggage set from Badgley Mischka, a fun patterned luggage set from CalPak, as well as editor-loved soft-side luggage options, including bags that are pink!

Discover an on-sale suitcase from the luxury travel brand Royce & Rocket, plus the best travel backpack option, with a peak design that features space for a laptop, and a duffel bag option that's actually easy on your shoulders.

It's time to ditch your old, broken suitcase. Upgrade to the best carry-on luggage and checked luggage with the options below.

JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser.

• Russian Language
• Phone Call us toll-free (800) - 531 - 1037
• Email Email Us
• Free shipping icon Free Shipping On retail orders of $150

Isadora Golden Ribbon 14-Piece Tea Set for 6 Persons

This simple and elegant tea set "Isadora" is produced by the Imperial Porcelain Factory. The set includes 14 pieces: 6 tea cups, 6 saucers, 1 teapot and 1 sugar bowl. Such a tea set can become a great gift no matter what the occasion - the white porcelain with golden ribbon. Can you think of anything more elegant? Put this tea set on your table and you will be transported into the atmosphere of the subtle palace splendor!

Bone China of the Imperial Porcelain Factory stands out due to the following:

Beautiful design & Uniqueness – The blindingly-white background, the finest, airy material, the rich luster of glaze, the elegant patterns, all created by famous, talented artists, and the luminous transparency, make the bone china look elegant and unique. When held to the light, you will see the light filter through, creating an impressive effect.

Eco-friendly & Safe material – Made of the high-grade bone china. Ecologically friendly. Non-Toxic and 100% BPA Free. The smooth surface prevents the penetration of bacteria and foreign odors into the dishes. Absolutely safe for kids and adults.

Practical qualities – The material is extra-strong to prevent scratches. The elegant lightness, sturdiness and unusual, impressive style of products make them not only beautiful, but also perfectly strong for everyday use. 

Cultural and collectible value – The items produced by the Imperial Porcelain Factory don't just make wonderful gifts, they are also culturally valuable.  Many of the ceremonial sets and souvenirs are exhibited in museums around the world, are considered to be among the world's decorative and applied art treasures, and are highly appreciated by collectors.  Over time, many of the Imperial Porcelain Factory products are included in the registers of antique objects and become valuable investments.

All products of the Imperial Porcelain Factory are stamped with the original factory mark that guarantees its 100% authenticity.

St-Petersburg Global Trade House is the official distributor in the United States of America and Canada.

Customers reviews

You're reviewing: isadora golden ribbon 14-piece tea set for 6 persons.

CRAFT BREATHTAKING AUDIOVISUAL EFFECTS IN REAL TIME

Isadora 3, a user-friendly platform that responds to and evolves with your creativity.

OUT-OF-THE-BOX FUNCTIONALITY, OUTSIDE-THE-BOX CREATIVITY

Whether you are a designer, technician, student, or an artist, working with video, audio, or other media, Isadora is ready to serve your creative impulses. Our software combines the video and audio processing engine of a media server with a hyper-flexible visual programming environment to create an incredibly versatile media playback platform.

Isadora lets your imagination run wild.

FROM EVERYWHERE TO ANYWHERE

IzzyCast enables the sharing of multiple streams of video, audio, and data between locations around the world. By combining IzzyCast with Isadora‘s ultra-flexible architecture, you will be able to transmit, receive, route, mix, and control anything and everything in ways limited only by your imagination.

Never struggle with remote performance setups again.

PAMELA Z: Travel, Sound and Memory

Studying classical voice and singing arias somehow lead Pamela Z towards the life of an experimental performer–combining sound, video and live projection. She’s created a long career that has culminated in being granted the 2019/2020 Rome Prize of the American Academy in Rome, Italy.

“After graduating from college in 1978, I realized that I was more interested in experimental music and started composing pieces with voice and digital delays. I was able to combine classical vocal practice with new techniques,” says the artist, who is mostly based in San Francisco.

WEBSITE: pamelaz.com

By the 1990s, she was utilizing Max MSP, which came with Jitter. She says it was a workshop in New York City with Isadora creator Mark Coniglio that revamped and elevated her practice, moving it to live, manipulation of video. It was the late 1990s and Coniglio was introducing people to live, interactive media performance.

“With Isadora I was able to use my own intuition as to what object or actor I needed. I figured a lot of it out on my own, sometimes if it was complicated I would post in the TroikaTronix Forum and Mark would answer!”

Z (that is her official last name, by the way) calls Isadora “user friendly.” She began employing it more around 2007 and hasn’t looked back. That’s how she ended up creating a seven-part exhibition called Baggage Allowance.

“I’m constantly on the road, hauling my stuff all over the planet and there are these issues with the TSA (Transportation Security Agency). So, I started thinking about baggage in the wider sense, metaphorical. The emotional attachments we have.”

Baggage Allowance was a major project that included an evening-length multimedia performance work, a seven-part gallery exhibition of installations, and a browser-based installation designed to be experienced online.

In the performance work, Z moved around on a stage performing with voice, live electronic processing, found objects, and various large projection surfaces populated with images from three video projectors and a film projector.

In the gallery exhibition, there were objects with embedded sound and image, including a luggage X-ray contraption she created with an actual conveyor belt in which strange, unexpected objects would show up on the display when viewers’ bags were scanned.

Z’s favorite piece of all from the installation is something called Suitcase, which was recently shown at the San Francisco Arts Commission Gallery (2019).

“It’s one of those sturdy, antique pieces of luggage. When you walk up to it, you can see a grown woman sleeping inside. It’s me of course. You can hear the sound of whispering and muttering about things one would worry about while trying to get to sleep and, occasionally, I wake up and look directly at the viewer,” Z explained. “The sound is only audible if a viewer gets close. People are often startled by it. People find it charming and creepy!”

To create Suitcase, she first built a box out of plywood that had the same proportions as the suitcase but was large enough for her to fit in. She photographed the printed pattern of the original suitcase’s lining, blew it up, and papered the box with it. Z then curled up inside and used a camera to shoot herself sleeping. After, she filled the suitcase with white plaster, so it had a bit of depth—she made a mound. With Isadora, she projected her sleeping self onto the suitcase mound. Voila, woman inside box.

“I use a Mac mini, a projector, and a little camera mounted high up. The web cam is near the projector, so it can sense when a person is standing there and activate the sound,” Z said. Of all her installations, Suitcase is perhaps the one that has been shown the most.

Z spent most of 2009-2010 creating the Baggage Allowance installation and performance work, and she completed the browser-based installation ( baggageallowance.tv ) in 2011.

Z herself is mostly engaged with live performance using solo voice and electronics often with multiple channels or a single channel of video. She insists on projecting images very large either on an upstage wall or, preferably, rear-projected on a scrim or cyc (cyclorama) behind her.

“I want video to be integral to the performance and connected to it. When people look at a stage, they will see I’m immersed in this image.”

Z recalls a large format performance she did at The Kitchen in New York city’s Chelsea district for performance series called Assembly. The entire venue, the two-floor gallery and offices, was transformed into three floors of theatre space. Each floor featured one artist. Z got the third floor which had three 16×9 screens connected end-to-end. She would only have two days of rehearsals before opening day.

“I created a 45-minute set out of existing works along with some new material as connective tissue to create a cohesive piece. One video was phone footage I had shot in New York of a pipe spewing steam, producing a beautiful set of clouds. With Isadora, I figured a way to move that steam with the amplitude of my voice.”

Z threw together a template in Isadora. She flew to New York, hooked up her equipment and tweaked the template. Everything worked out beautifully.

In 2019, Z had an opportunity to have her first solo exhibition in Berlin and give a concert. Invited by the progressive curators of Savvy Contemporary (in collaboration with Deutschlandfunk Kultur and CTM Festival), she produced a four-part exhibition called Sonic Gestures.

One part of the exhibition, Memory Palace, involves a six-channel video installation with stereo sound. It is derived from an evening-length performance work called Memory Trace in which Z explored various aspects of memory using sampled text, gestures, voice and electronics.

Essentially, you see six videos of Z. One of the Z entities is questioning the five other Z entities with queries such as “Do you remember names, numbers or dreams?” or, “Do you remember where you parked the car?” The one who questions also asks: “Have you used this technique called Memory Palace?”

The Memory Palace technique is real. It requires you to imagine a specific place in your mind and you have to picture everything that is there—for example, it could contain a couch, a piano, a painting, a green vase etc… This place is one that you know very well and then you assign something you need to remember to an object in this place. For instance, your best friend’s address is connected to the green vase.

The Berlin exhibit required the visitor to step onto a specific spot (indicated with two small speakers hanging down toward the ears of the listener) in order to trigger the various entities of Z to come into focus on screen and to activate the audio. Z used an Isadora Actor to search for the presence of a person, i.e. it is looking for a mass of darkness in contrast to the white floor.

One of the sources of material for the larger work, Memory Trace, began more than five years ago when Z’s mother was dying. She interviewed her and tried to jog her memories of the past by playing music that she had listened to in her youth. Z made a film of these interactions. Her mother died in 2016, and Z used the footage as a section of the performance work. She also conducted video-taped interviews with several people in which she asked questions about their dreams and what they remembered. These, full-body videos were edited and projected on tall screens in the performance.

“The idea of Memory Trace comes from the fact that scientists have discovered there’s a path in the brain every time you recall a memory, but you are changing it as you recall it. So, the way you remember it now is NOT how it actually happened.”

In this way, we grow distant from the reality of a memory and, similarly, in her career, Z is also getting distance from her work.

“Galleries are now more frequently asking to show my installation works and I’m being commissioned regularly to compose works for chamber ensembles, which are playing my music while I’m not there,” she noted.

“As a live performer, it’s the weirdest feeling but maybe it’s like having children. They carry on without you.”

Text by June Chua in collaboration with Pamela Z [Interview conducted in August 2019]

IMAGE CREDITS Page 1: Courtesy of The LAB Page 2: Valerie Oliveiro Page 3: Paula Court Page 4: Courtesy of voxlab Page 5: Paula Court Page 6: Pamela Z

JUSTIN STEPHENSON: The Faceless Forces of Bigness

Justin Stephenson :  is laughing and thinking while trying to come up with some descriptions of what his project is: “It’s almost like surfing!” Stephenson, an award-winning filmmaker, is talking about the Faceless Forces of Bigness (FFoB). It all started as a collaboration between the video/art designer and a few longtime friends: Michael Philip Wojewoda , John D.S. Adams , Chris Stringer  and Kurt Swinghammer  – all venerable, well-respected artist-musicians in their own right. “We use analog modular synthesizers and feedback loops to create generative music – it’s all random and we’re all out there in the ocean just trying to shepherd it,” explains Stephenson, who has been in demand in Canada for his skills as a director and motion design specialist. His previous credits include The Complete Works (Director), The Secret Path (animated documentary) and Robert Lepage’s Ewartung and Bluebeard’s Castle with The Canadian Opera Company.

The group has been together for almost 20 years. Over that time, Stephenson has been trying to get the video to respond to the audio. “The computers were so slow back then, and the software just wasn’t up to the task, I ended up performing the video as opposed to allowing the sound to drive it” he explains. “Then, I recently switched to Isadora and found it to be the perfect tool for this improvised audio-visual experience and helped me get my bearings – I was able to create tools to respond to the audio performance. As Isadora user dusX put it in the Isadora forum, ‘there is something in creating a tool, that helps you find the meaning in the content.‘ When we were setting up and I started to see the picture responding to the audio, I felt like this was the thing I had been trying to achieve for all these years with FFoB“ Stephenson says he was particularly pleased with the software’s lack of latency, the ability to have up to eight discreet audio inputs, the ability to used FFGL plugins and Shader Toy shaders and how simple it is to bring in serial inputs from Arduino: “It’s so easy, it’s crazy! Because you define the environment and workflow in Isadora, you can work through complex ideas very quickly”

The group performed at the leading experimental music festival Sound Symposium in Newfoundland in August 2018. FFoB did a one-hour set for a sold-out, enthusiastic audience. FFoB also led a workshop at the symposium. “We all show up with our respective ideas and there is very little talking,” Stephenson says when asked about the kind of preparation FFoB does. “As it is improvised, the performances are more akin to conversations as opposed to being designed as shows. Before the show, we do talk about arc – such as, we should start out soft, go loud, then quiet and then go musical and end on a bang.” Click to watch the FFoB Video

However, he reveals they do get together to “rehearse,” which can last up to six hours: “It’s an opportunity for these guys – who are at the top of their game – to create an environment where things can evolve and devolve. They’re looking to extend the boundaries of what music and performance are.” For his part, Stephenson blends nature imagery, text, and sequences depicting acts of reading and writing using digital glitching effects, overlays, scaling, color treatments and blurs. “My concern in all my work explores the relationships between language and The Real, the discrete and the continuous,” he describes.“I’m modulating all of my clip and effects parameters with the audio coming from each of the guys. When the picture is tightly linked to the audio, you don’t need a lot of fancy effects to create visual interest. One of the most exciting things about FFoB is that it is improvised, we don’t know what the end result will be! Mostly it’s beautiful, though sometimes it’s awful. We just perform and then suddenly, it’s done.” Stephenson finds pleasure in responding to the moment: “It’s liberating to work in real time.”

In his professional work, which involves animation and post-production utilizing a lot of animation and editing software, he’s usually sitting in a suite constantly refining and cutting: “In my day-to-day work, I’m working frame-by-frame, pixel-by-pixel.” Stephenson’s Isadora experience reaches far back. He’s used it for stage performances including a piece by Canadian choreographer Denise Fujiwara, Euonia, based on a book of poetry: “The ability to go from scene to scene, and create snapshots was ideal for quickly iterating a show” He hadn’t been thinking of utilizing Isadora for FFoB. Up until this show, he had been using a range of VJ packages: “While I love VJ software, I found that it leads you into performing rather than developing concepts around audio reactivity. I wanted to get to that point where the sound was really driving the picture. I thought to try Isadora for our show in Newfoundland” Then, everything changed. “With Isadora, the ability to make and modify your own tools was ideal. For fast prototyping, it’s optimal. Just before the show, I thought I’d love to have a controllable multiplier for the audio inputs and just five minutes before we started, I had that tool for the show.”

At the workshop in Newfoundland, he was able to highlight the finer points of using Isadora and how to customize it to individual needs. “One of the most useful things is the way you can create your own reusable modules with various logic, effects and clips. It makes it possible to easily explore relationships and develop ideas in a way that makes sense to how you are thinking about the work…it’s instantly responsive and engaging.” Stephenson intends on continuing to “noodle” with the software and to keep experimenting. “The patches can always be tinkered with, optimized and improved – it becomes a bit of an obsession” Meanwhile, FFoB is looking to expand its concerts to more venues outside of Canada and to more festivals. “When we’re performing, we hit a groove at a certain point. If you’ve ever done VR – it’s like that. Because we’re combining improvised video and audio, you’re stepping into another world and there is nothing marking time. It’s such a feeling of freedom and elation. Our work at Sound Symposium really galvanized us all to want to do this more.”

Text by June Chua | Images by Justin Stephenson + Michael Phillip Wojewoda [Interview conducted in October 2018]

FERNANDA D’AGOSTINO: Borderline

“My job as an artist is to see, so I’m going to look deeply at things that concern me and not look away,” Fernanda D’Agostino http://www.fernandadagostino.com/ states emphatically. The Portland, Oregon-based multimedia artist is explaining the origins of her project Borderline. “I’m exploring mass migration, climate change and surveillance culture…all these things began to weigh more heavily on my mind when Donald Trump was elected.” D’Agostino adds that the other trigger was a Facebook post by a cousin in Italy, a “conservative”: “He was using the same prejudiced language about Mediterranean migrants that was used against my grandparents 100 years ago when they immigrated to the U.S.” The cousin told D’Agostino she understood nothing about the migrant crisis in the Mediterranean, and that’s when she put on her artist’s searchlights. “I started checking Italian coastguard footage of migrants in the Mediterranean, as well as government surveillance video of the U.S border and EU footage of their land borders. I also did parallel research investigating U.S. forest fire footage and climate monitoring footage from the NOAA [National Oceanographic and Atmospheric Administration]. I collected it all, not knowing what it meant or if there were any connections,” says D’Agostino.

Around the fall of 2017, the puzzle pieces started to come together after D’Agostino met two dancers, Jaleesa Johnston and Sophia Wright Emigh. All three were part of an artists’ study group at Open Signal Media Center, in Portland, OR. “Both were deeply committed to investigating embodied trauma and generational memory – Jaleesa is an African American and Sophia is the granddaughter of Holocaust survivors,” said D’Agostino. “I had similar concerns so we decided to collaborate on a performance project.” At the same time as the trio got together, D’Agostino became a visiting member of Collective Action Studio in San Francisco. She was helping the collective create some videos for a mapping project at the Palace of Fine Arts and met Tra Bouscaren who was working with Isadora. He offered to do a couple of tutorials to get her up and running in Isadora. “I had never seen a program that powerful! I was blown away by what you could do. So, I went home and did every online tutorial,” exclaims D’Agostino. “I have to give kudos to [Isadora creator Mark Coniglio]. I’ve tried to learn coding and I’m 69…I couldn’t. Isadora was a revelation.”

“Each of Isadora’s palette of User Actors enables a different function or effect. Up until this point I had been using Max for my coding, where you build every effect or function from scratch, and I needed a programmer’s help. With Isadora, I can string the User Actors together to create interesting effects and have become a coder in my own right.” D’Agostino says. “Another revolutionary aspect of Isadora is the ability to combine scenes. In the past, I’ve done three Max projects with one or two scenes each, but with Isadora I’m able to make a series of scenes and randomly dissolve them into each other. Like thoughts coming in and out of focus, this Isadora randomization mimics the ‘stream of consciousness’ flow of time vital for this project.” D’Agostino started her artistic life as a performance artist in the 1980s but is now more of a multimedia artist and director. To develop footage for Borderline with performance artists Johnston and Emigh, she provided movement prompts using words such as “tentativeness,” “hiding” or “stealth.” The pair came up with their own actions and additional concepts. “I’m not the choreographer,” insists D’Agostino. “They are bringing the wealth of their own artistic and movement practices to our work together.” Performance footage https://vimeo.com/fernandadagostino of their collaborative work is a key part of Borderline: “Mirror neurons are the empathy machine in humans. When people see figures within the projections, that activates a different quality of responsiveness and dissolves the separateness we too frequently feel when others are in crisis.”

In creating the installation for the Portland Art Museum (The Map is not the Territory, Feb. 8 to May 9, 2019), D’Agostino seeks to place the viewer inside the action: “I’ve used a video camera input to place viewers in scenes of surveillance at borders around the world, as a way of making them remember we are all implicated and effected by these scenes of catastrophe or dystopia.” The work at the museum is the culmination of an ongoing series all titled Borderline. At PAM, the installation uses two five-meter scrims and a floor projection in the atrium of the museum. The scenes appear randomly on the scrims and floor yielding infinite combinations and implied meanings. For D’Agostino, Mark’s tutorials were so effective that some of the scenes she created using the online tutorials are now appearing in the project itself. “Isadora has changed my artistic life,” she reveals. “I have the power to change and make anything. It’s so much user-friendly than anything else out there.”

The work is deeply affecting, provoking emotion. Borderline is as concerned about the psychological borders that separate people as the geographic ones. Borderline also investigates the tipping point, or the line between things working and things falling apart. In addition, the artist is sensitive to the fact that very little of her own daily life has changed despite ominous and terrible things around the world and in her own country. The question for D’Agostino creatively was — how to bring those worlds together? “In the 60s, this used to manifest as giant protests but now, I think the response is online.” In Borderline, utilizing technological advances to link up all the dots has been critical. “I hope people have an emotional reaction to Borderline,” she says. “Real change happens most often as a result of emotional connection.”

Text by June Chua | Images by Brian Foulkes [Interview conducted in December 2018]

MORITZ MAJCE + SANDRA MAN: Choros

Excavating the past to learn for the present — an idea that has, so far, sparked a six-part series project by Moritz Majce and Sandra Man. Visiting Greece, the Berlin-based artists hit upon the idea of choros – Greek for “dancing place.” It denotes both the locale and the people who are dancing there.

“While they are dancing, they are connecting to the space, out in nature,” explains Majce. “It’s more like a ritual because you are part of what’s going on.”

In ancient Greek theatre there was often a circular space between the stage and audience, the orchestra. It’s where the chorus is placed.

“We looked at the very beginnings of art and thought about what framework was set there that is still active now” said Majce. “Art has to be in contact with what’s going on in the present. So, we did something that is inspired by the past but included themes of nature and technology.”

Choros was borne of that concept — utilizing the circle, environment and melding performers with audience at times. The project is what they call a ‘space choreography,’ a moving installation in which the audience is a participant. The works are also examining what it means to be a spectator. Majce and Man seek to have the audience follow their own paths rather than have the performers guide them.

It’s been a leap for Majce, who comes from fine art world and spent only a year with Isadora to learn how to use live video and sound for exhibits and performances. He found it easy to work with and is pleased with the results.

Choros has expanded into six parts, which Majce describes here.

CHOROS I: Ufer Studios, Berlin. We worked with a group of 6 to 8 people using circular moving patterns and texts provided by Sandra. We had the old Greek meter of rhyming with the choir moving and also turning around – we worked on the relationship between movement and the lyrics of the rhymes blending breathing and the movement of the body and text. Sandra and I explored an old way of dealing with language and relationships within a group. We also experimented with mini round stages.

CHOROS II: Kunstfabrik am Flutgraben, Berlin. A followup to the first Choros. We still used rhymes, this time we blended in singing and the focus was the chorus as the agent creating a space for the audience. It’s like a moving installation made of dancers in which the spectators can walk in to and the installation reacts to them. Think of a group of wild animals where they are aware of you without doing any extra “performing” for you, and you can just be with them.

CHOROS III: The mountains of Austria. We took one dancer and made videos of the dancer in the landscape. It’s about how the landscape makes the body move. If you’re there for some time, you generate movement out of the location — you’re receiving from the environment. At one point, the dancer was stamping a small circle for hours in the grass. This was a two-month project and we made a multi-video and multi-audio-channel installation in a gallery, Kunstraum Lakeside, where it was a chorus of videos, not a chorus of people.

CHOROS IV: Hungarian Culture Institute, Berlin. We did a show for their Montag Modus performance series that included a four-screen installation with two performers speaking live, one in German and one in English. We re-arranged video material from the previous Choros chapters. The idea was to have different languages on stage speaking at the same time as the videos were running. The live performers were choreographed by the movement of the images. Sometimes, they would talk one after the other and at times, simultaneously.

CHOROS V: WUK performing arts, Vienna. We were in a theatre space and we had six trampolines, a circular tower made from wood, four huge projection screens and a hexagon made of real grass where the performers would do a round dance and the grass would decay and smell as it was dying over the duration of the performance. The performers were on all the sites. The videos were produced with the dancers in one of the biggest former coal mining areas in Germany called Lausitz. It’s a devastated space and has giant construction equipment still sitting there. It’s one of the biggest terraforming sites now. There are trees re-planted there and artificial lakes. Metaphorically, it’s an in-between place – it’s nature that’s been built by human technology.

CHOROS VI: District, Berlin. This is more like an installation where everything is going on at the same time. You can go to the video installation or the tower or have a look at the looping performances. There are displays on the tower and the choir performs throughout. It’s a continuum with no beginning or end. It’s not dependent on the audience to watch them. You can just watch and leave. Each night, we had a talk on the grass hexagon. We had a philosopher, a curator and a somatic trainer who did spectator training. It’s about the individual spectator and learning how to move their body as a different way of experiencing something in this space. We are exploring the idea of participation and also refraining from guiding the audience through a performance.

Text by June Chua | Images by Moritz Majce + Sandra Man [Interview conducted in November 2018]

Jake Witlen

As head of video for three years at the Schaubühne, one of Germany’s preeminent theaters, Jake Witlen’s mantra is, “Workflow. Workflow. Workflow.” The venue premiers about 15 shows per year, on top of 52 existing shows in repertoire, and tours shows approximately 160 days per year visiting about 30 countries. 85% of all productions integrate video and thus Isadora, ten of which are premiers, many of which push the limits of video onstage. A show opening this April called, Borgen, created and directed by Nicolas Stemann, uses Isadora to operate a concept among seven projectors, three cameras, two iPhones, and subtitles. The Schaubühne is well-equipped, but given the scale and number of shows it produces, resources are limited. A lot of logistics go into preparing a show; simply knowing what piece of equipment is available and when can be a puzzle. If a show is going to China for example, Jake can lose gear for three to five months. But he enjoys the challenge: “The fun part is figuring out your game.”

Jake’s responsible for coming up with a plan to ensure that every show runs smoothly and is reproducible. Reproducible means being able to load in, calibrate, and fine tune in a new space in just under two days before opening. He directs a small team of three to program Isadora and execute designs, a team that is typically split between two shows at a time. To be clear, Jake isn’t designing the show himself but instead tackling the trickier and more nuanced challenge of building someone else’s design. Every director who comes through the Schaubühne brings their own designer, and that designer has their own unique vision, communication style, and set of expectations. Jake has chosen Isadora for the Schaubühne because the software can meet the demands of every designer and calibrate quickly. “It’s flexible. For any single problem, Isadora offers 800 solutions. It totally beats the giant servers, which are really just playback machines.”

But sitting down with the director and video designer early in production is essential. Jake negotiates every last detail of the video concept – what is possible based on resources, time, and scale and what the workflow will be. Jake’s team then collaborates in programming the show and builds an Isadora file together. “Anyone could be programming a patch at any given time.” Order is key, but order is easy with Isadora. In fact, it’s so easy, Jake is able to teach the program to the designer’s assistants, so they’re up and running and trying out patches in the space in a matter of hours. Despite Jake’s long history with Isadora, both as director and designer, its myriad solutions never cease to astound him. Because his team is sharing patches, he learns something new from his collaborators almost every show, something that he’s never even thought possible. Isadora can realize “whatever [they] need to do – the blank page is infinite.”

Isadora’s creative potential is attributed to how it’s developed as a piece of software. The program’s creator, Mark Conilgio, is “coming at it from a creative standpoint, asking the question: what do I want out of it? And you can clearly see how he’s influenced by users all over the world.” Jake is active on the TroikaTronix forum and is keenly aware of Isadora’s constant evolution. “You read a question, and four days later you have an update. Mark’s already taken a user’s question and built the answer. When you need something, he’ll be there.”

On top of Isadora’s proven power and Mark’s responsiveness, Jake chooses Isadora because of its reliability. He describes a critical divide between the video department and other departments in the theater that is not exclusive to the Schaubühne. “Video is the evil stepchild in theater.” Troubleshooting might be clear for lighting and sound departments – turn it on and off, unplug and plug, check the cable, check the lamp, but “that’s not part of the game of video design – which doesn’t work for centuries-old departments.” Notable directors, such as Peter Stein, Robert Wilson, Thomas Ostermeier, Falk Richter, Katie Mitchell, Simon McBurney, and Milo Rau have secured the Schaubühne worldwide fame and respect over the last 50 years. So there’s little room for error in designing and running a show, regardless of how misunderstood the technology. With the help of Isadora, Jake is able to achieve sterling precision, professionalism, and organization.

Head of the Video Department at the Schaubühne Berlin, Germany Isadora user: 11 years Patching Style: OCD perfect, especially for shared files

Fotos: (c) Arno Declair Disconnected Child. Director: Falk Richter. Video Design: Christopher Kondek Richard III. Director Thomas Ostermeier. Video Design: Sébastien Dupouey Fear. Director: Falk Richter. Video Design: Bjørn Melhus

Text by Catherine Duquette [Interview conducted in 2015/16]

Dan Shorten

People can listen to a piece of music and tell you instantly if they like it or not, and they feel confident in saying so.” Award-winning video designer, Dan Shorten, wants his audience to be able do the same. Working under the moniker, Anomic Multimedia, he uses Isadora’s projection mapper for large-scale outdoor events and five-star touring productions, including the five-day Glastonbury Festival of performing arts and most recently, Shakespeare400, a series of public performances around London celebrating the 400-year legacy of The Bard. Running systems that can use up to 19 projectors, he transforms the facades of buildings and spaces into living entities and animated environments. An impressive 150,000 people a week can experience his work – that’s 8,000 pairs of eyes a night. With these kinds of numbers, success comes down to accessibility, as the larger the public, the wider range of responses. Some people might be attracted to the meaning, others the magic, and a few, the mechanics behind the mastery. But it’s this open invitation, one that trusts the audience’s sensibilities, that is part and parcel to Dan’s ethos of good art.

It’s also the reason why Dan has chosen Isadora as his primary control for video design. It’s “fast, logical and has a simple layout.” But it’s not as limited as even more widely known plug and play gadgets. “With Isadora, you have to ask questions: What do I want to do? How do I do it? What’s the outcome? How does this actor affect this actor?” Isadora is an open invitation, one that trusts the designer’s sensibilities. Dan admits to having been a skeptic at first – to having made the mistake of thinking Isadora was too open and therefore too complicated for what he wanted to do – which was to project some video and images on stage. But after sitting in on an Isadora workshop as a teacher, Dan realized the software not only offered cleaner solutions – such as using a mouse to move things around on screen instead of rendering things out in the studio and then fitting them to the space using a projector alone – it offered more solutions, which spurred his creativity.

Alongside his design work, Dan teaches at the prestigious Guildhall School Music and Drama, which recently launched a BA degree focused on video mapping in 2015. Most of Dan’s students land design gigs at high level, West End theaters upon graduation, and he uses Isadora to prime them. Isadora teaches his students how to think about video and how to create without running up against complexities in the design of the software itself. Dan owes this to Isadora being an artist-driven software. In fact, Isadora’s creator, Mark Coniglio worked closely with Dan in developing the software’s projection mapping tool before it was released so that it could meet his and other video mappers’ needs in building content.

Despite the scale of his projects, Dan strives for simplicity in both form and process, falling back on his first love of making music and music’s ability to invite an audience to render its own opinion, confidently. Dan embraces the fact that he can make his audience’s jaw drop with his video designs, but there’s a long road between learning a tool and being an artist with a tool. “If you can do something simple, do something simple.” New technology can dazzle, and who doesn’t want to be dazzled? A little rock and roll can inject a lot of energy into life. But there’s a delicate balance between the rockstar and the artist, the artist and the elitist. The benefit of Isadora is that it teaches you how to be an artist, or at least a better artist, while learning the tool. Isadora is Dan’s toolbox and a completely integrated part of his creative thinking.

Profession: Video Designer // Lecturer at the Guildhall School of Music and Drama Location: London, England Isadora user: 13 years Lines: Start straight at right angles but end up as spaghetti

David Gumbs

In 2001, media artist, David Gumbs, saw Isadora for the first time while a student in interactive multimedia at “Les Ateliers, L’ENSCI” in Paris. His eyes widened: Isadora was showing immediate results and instantly “rendering” its users choices. After years of exercising patience with Flash, After Effects, and other animation and video processing software, seeing Isadora was like peeking behind the magician’s curtain. He wanted to know its secrets – he asked the artist who introduced him to Isadora to teach him the software. The artist said, “no.” David was angry at first, but he soon realized this “no” would come to define his artistic career.

Over the course of 15 years, David figured out how Isadora could work for him, developing a distinct process and voice as a result. He found the program easy to learn, despite loathing coding, as it complemented his more organic disposition to making work, the interactivity between artist and tool being one of Isadora’s most compelling attributes. His process is all about “searching but staying open to what happens, even though [he] might deviate from [his] original idea.” He’s always preferred visual art and more tactile mediums – painting, photography, drawing. But making a living in these disciplines is challenging at best. His original turn to video was merely an attempt to learn skills that would allow him to support himself financially while making art in other mediums. Isadora conveniently bridges two minds and two worlds.

David’s video work explores a tension between the organic and the digital, which reflects his own tension between his Caribbean identity and forging a career defined by technology. Even while a student in Paris, he missed the nature of the French West Indies, its “trees curved by the ocean wind and broken down walls lacerated by salt from the sea.” The concrete and the vertical trees of Europe simply didn’t inspire him. He uses Isadora to manipulate his drawings and photographs that typically depict natural objects, such as seashells, flowers, and his favorite – anthropomorphic trees, and builds interactive video installations for both audience and dancer. The video artist’s most innovative application of Isadora however is his light work as part of his “Perception Offscreen” series. He digitally engraves Rorschach-like impressions created in Isadora onto large sheets of acrylic or glass, which are lit by white LED lights. The sculptures challenge the viewer to find the “nature within” and to illuminate “parts of their psychology that they don’t normally see”. In April and May of this year, David plans to push this digital sculpture work even further while in residency in Beijing. He will be molding his creations in Isadora into three-dimensional objects. He wants to generate digital art that people not only experience but also possess.

Video art is relatively new to the Caribbean, and on his island of Saint-Martin, colleagues have gone so far as to say video art is “repelling”. That said, David has been able come up with solutions in Isadora time and time again to make his community think otherwise, to counter their “no”. David attributes his success in part to the Isadora community, both on and offline. It’s “very welcoming, very open.” He’s on the TroikaTronix forum at least once a week, sharing and receiving knowledge. An infinite number of “hidden treasures” exist within Isadora, “really simple things the community can teach you.” David’s persistence has made an impact. Since 2009, Gumbs has taught multimedia and motion design at the Visual Arts School in Fort-de-France, Martinique. There, he teaches his students Isadora, giving them the benefit of direct guidance that he was originally denied. But this guidance comes with a caveat: He advises his students to “go outside on the streets, in the nature” to gather source material to put into Isadora. It’s “a powerful tool, but it’s just like a paint brush – and you need to find your paint.”

Profession: Visual Media Artist Located:Fort-de-France, Martinique Using Isadora: about 15 years Lines: Web of creative genius, i.e. an absolute mess

Jared Mezzocchi

Making video more human is the cornerstone of Jared Mezzocchi’s work, both in product and in process, as video designer, educator, and theater director. Having studied both theater and filmmaking as an undergrad, Jared had always questioned how video and theater mix. He grew curious about how to tell a story as an actor and how to tell a story visually as a filmmaker. The answer to his question was character. Jared regards video as a character, an inspired entity, that “connects itself to the dramaturgy of the piece and propels the story forward in unexpected ways.” It “arrives on its own; it leaves on its own.” In other words, it wants something, the same thing that live theater in its most successful but rarest moments can achieve – a shared psychic experience.

Theater has been built and budgeted the same way for hundreds of years, so a relatively new piece of technology such as video could jeopardize its integrity. “It can either squelch the existing magic or enhance it.” While theater directors want to experiment with video, they still have a difficult time understanding it. However, Jared believes “Isadora makes video/media accessible to most theatres in the U.S.” He designs video for regional theater, including Woolly Mammoth in D.C., Milwaukee Rep, South Coast Rep, Cleveland Playhouse, and Manhattan Theater Company, while pushing the limits of video design for more experimental companies such as New York City’s 3-Legged Dog, Big Art Group, New Georges and HERE Arts Center. Regional theater requires that Jared generates content in the space and quickly – typically with only a few days of tech. In that short time, Jared finds himself not only designing but also teaching the room about his process, so that the director can come to trust the technology. Isadora helps bring people together, builds trust, and makes the process more human.

If the time constraints of regional theater can inspire creativity, then the flexibility and reliability of Isadora can ensure that this creativity thrives in the space. For the last eight years, Jared has also been directing at Andy’s Summer Playhouse, a summer youth theater in southern New Hampshire or as Jared describes, “a multimedia incubator for kids”. This summer, he has taken over as Producing Artistic Director of the Playhouse, where he works with 25 to 30 kids per production, between 8 and 18 years old, to stage 3-4 brand new multimedia pieces every summer. The kids perform and operate the show with Isadora, which they find easy to learn, in part, because it operates sequentially like the cues in theater. In 2012, they staged The BFG, the play based on Roald Dahl’s beloved novel by the same name. Jared wanted to project several images in glass jars onstage, but it wasn’t working – the images were indecipherable and clearly digital. But when one of the kids accidentally shifted their jar out of position, something better than originally intended happened: the image fell off of the frosted portion of the jar and the interior began to glow with the image passing through the glass and landing within. Because of Isadora’s flexibility, Jared was able to program “the mistake” instantly. If he had needed to leave the space, he wouldn’t have been able to duplicate it.

Jared credits his career to Isadora. The program has given him “the permission to have a voice in his field,” a voice that has earned him the Princess Grace Award in 2012 as well as the prestige of having been the first projection designer to be honored with this national theater award. In addition to his regional theater design, Jared leads the projection design track in the MFA Design program at University of Maryland. He strongly emphasizes his curriculum towards Isadora. “The way that Isadora forces you to think about video design in flexible and organic ways is a great curriculum.” Instead of hiding behind the computer, feeling like they’re simply tinkering with code, Isadora moves designers’ eyes “away from the monitor and onto the stage.” The design can live organically and move fluidly in the space, so everyone in the theater can enjoy a shared experience.

Profession: Multimedia Director and Designer for Regional Theater // Professor at the University of Maryland Location: Washington, D.C. Isadora User: 7 years Lines: Cobweb of lines, despite what he teaches Patching Style: Cobweb of lines, despite what he teaches Photos by (c) Michael Portrie, (c) Sibyl Wickersheimer and (c) Stan Barough

Isadora Features

• Cueing (Show Control)
• Lighting Control
• Multichannel Audio
• Multi-Projector Setups, Blending, and Routing
• Projection Mapping
• Real Time and Interactive
• Remote Performance
• Video Playback and Effects
• Specifications

• TroikaTronix
• Mark Coniglio
• Neue Schönhauser Straße 12
• 10178 Berlin
• info [at] troikatronix.com

• Russia Tourism
• Russia Hotels
• Russia Bed and Breakfast
• Russia Vacation Rentals
• Flights to Russia
• Russia Restaurants
• Things to Do in Russia
• Russia Travel Forum
• Russia Photos
• All Russia Hotels
• Russia Hotel Deals
• Things to Do
• Restaurants
• Vacation Rentals
• Travel Stories
• Rental Cars
• Add a Place
• Travel Forum
• Travelers' Choice
• Help Center

Solo independent travel from Moscow to Vladimir and Suzdal - Russia Forum

• Europe    
• Russia    

Solo independent travel from Moscow to Vladimir and Suzdal

• United States Forums
• Europe Forums
• Canada Forums
• Asia Forums
• Central America Forums
• Africa Forums
• Caribbean Forums
• Mexico Forums
• South Pacific Forums
• South America Forums
• Middle East Forums
• Honeymoons and Romance
• Business Travel
• Train Travel
• Traveling With Disabilities
• Tripadvisor Support
• Solo Travel
• Bargain Travel
• Timeshares / Vacation Rentals
• Europe forums
• Russia forum

High speed train to Vladimir is the only option worth speaking of. As for the transport to Suzdal, first you can always take a taxi from Vladimir train station. Then you are going to stay somewhere in Vladimir or Suzdal, aren't you? Try contacting your accommodation and ask for options. They will be able to arrange a transfer or a driver/guide for you.

> is there a place to leave checked baggage in Vladimir while I tour that city during one day?

The train station has left luggage facilities.

Thanks so much! I am staying in Suzdal both nights. I have written the hotel with another question and am waiting for a reply so will write them again with the questions you suggest.

This topic has been closed to new posts due to inactivity.

• Sergiev Posad to Pereslavl Zalessky 4:57 pm
• Train Booking Moscow to St. Peter Apr 18, 2024
• Crossing the border from Narva to Ovanograd by bus Apr 14, 2024
• Current best way to send dollars to Russia? Apr 14, 2024
• Flights into Russia Apr 12, 2024
• Migration Registration Apr 12, 2024
• Gold (bars, sovereigns, krugerands?) Apr 11, 2024
• Traveling to Russia in January 2024 Apr 11, 2024
• Are there direct flights from Moscow to central/southamerica Apr 10, 2024
• Russian 90/180 visa question Apr 10, 2024
• Travelling to Russia having been to Ukraine for aid. Apr 10, 2024
• Planning trip to Russia Apr 09, 2024
• SIM card. Russian SIM cards, do they still work in the UK? Apr 09, 2024
• Winter palace or Main museum Apr 08, 2024
• Transaero Airlines 5 replies
• American Movies set in Russia 5 replies
• Moscow Airport transfer (SVO to DME) 4 replies
• Travel All Russia travel compnay 48 replies
• Russian River Cruise 10 replies
• Suggested Russia Tour - East West Tours 6 replies
• Do I need a visa if my flight has a connection in Russia? 4 replies
• Insight Vacations 24 replies
• Asian Grocery Store in Moscow 4 replies
• "Tourist Confirmation Letter and Travel Voucher" for a visa. 5 replies
• Where can I get initial answers to ANY question?

Ask Amy: Should I feel obligated to foot the bill on a family vacation?

• Published: Apr. 20, 2024, 2:00 a.m.

In today's Ask Amy column, Amy Dickinson responds to someone who feels obligated to pay for travel expenses for an upcoming family vacation to Europe. Dreamstime

• Amy Dickinson

Dear Amy: Some of my family members are going to have a mini family reunion in Paris in a few months – the city where my brother lives.

My brother’s son, wife and their two young children will be flying to Paris from Istanbul, and I will be flying in from the USA.

My nephew’s family and I will be staying at the same hotel.

Several times my brother has mentioned that his son and family are coming to Paris “especially to see the uncle from America.”

So, in light of those repeated comments, do you think it would be necessary or rather the right thing to do for me to pay for my nephew and family’s hotel bill during their week’s visit in Paris?

And yes, I can afford to pay – but do I need to?

– Dan in LA

Dear Dan: Thank you for asking a question that will be met by a universal sigh: “What a nice problem to have.”

Your nephew and family are traveling for a family reunion, which will include his father (grandparent to the children). Presumably these family members have spent time together previously.

I infer that your nephew and his wife have not spent much (if any) time with you and that their children have possibly never met you.

You can imagine their excitement and curiosity about meeting their American uncle.

Your brother is passing along this family’s excitement, not asking for you to foot their bill or implying that you should.

I don’t read anything in your narrative that should lead you down this path, but if they are in need or you want to be generous in this way, then paying for their hotel bill would be a very kind thing to do.

Otherwise, I hope you will bring some small gifts from Los Angeles, perhaps take them to lunch or to a museum in Paris, and – if you all hit it off – you could invite them to visit you in your home, and foot the bill when you do.

Check out prior Ask Amy columns

(You can email Amy Dickinson at [email protected] or send a letter to Ask Amy, P.O. Box 194, Freeville, NY 13068. You can also follow her on Twitter @askingamy or Facebook .)

©2023 Amy Dickinson. Distributed by Tribune Content Agency, LLC.

If you purchase a product or register for an account through a link on our site, we may receive compensation. By using this site, you consent to our User Agreement and agree that your clicks, interactions, and personal information may be collected, recorded, and/or stored by us and social media and other third-party partners in accordance with our Privacy Policy.

Blinken will be the latest top US official to visit China in a bid to keep ties on an even keel

WASHINGTON — Secretary of State Antony Blinken will travel to China this coming week as Washington and Beijing try to keep ties on an even keel despite major differences on issues from the path to peace in the Middle East to the supply of synthetic opioids that have heightened fears over global stability.

The rivals are at odds on numerous fronts, including Russia’s war in Ukraine, Taiwan and the South China Sea , North Korea, Hong Kong, human rights and the detention of American citizens. The United States and China also are battling over trade and commerce issues, with President Joe Biden announcing new tariffs on imports of Chinese steel this past week.

The State Department said Saturday that Blinken, on his second visit to China in less than a year , will travel to Shanghai and Beijing starting Wednesday for three days of meetings with senior Chinese officials, including Foreign Minister Wang Yi. Talks between Blinken and Chinese President Xi Jinping are expected, although neither side will confirm such a meeting is happening until shortly before it takes place.

The department said in a statement that Blinken would “discuss a range of bilateral, regional, and global issues,” including the Middle East, the war in Ukraine, the South China Sea and the Taiwan Strait.

He will also talk about progress made in “resuming counternarcotics cooperation, military-to-military communication, artificial intelligence, and strengthening people-to-people ties” and will reaffirm how important it is for the U.S. and China to be “responsibly managing competition, even in areas where our two countries disagree,” State Department spokesman Matthew Miller said.

The trip follows a phone call this month between Biden and Xi in which they pledged to keep high-level contacts open, something they had agreed to last year at a face-to-face summit in California. Since that call, Treasury Secretary Janet Yellen has visited China and Defense Secretary Lloyd Austin has spoken by phone with his Chinese counterpart . Meetings at lower levels also have taken place.

Despite those encounters, relations are rocky. The U.S. has recently become more vocal in its calls for China to stop supporting Russia’s military-industrial sector, which Washington says has allowed Moscow to boost weapons production to support the war against Ukraine .

“We see China sharing machine tools, semiconductors, other dual-use items that have helped Russia rebuild the defense industrial base that sanctions and export controls had done so much to degrade,” Blinken said Friday. “Now, if China purports on the one hand to want good relations with Europe and other countries, it can’t on the other hand be fueling what is the biggest threat to European security since the end of the Cold War.”

Blinken also has pushed for China to take a more active stance in pressing Iran not to escalate tensions in the Middle East . He has spoken to his Chinese counterpart several times since the Israel-Hamas war began six months ago as he has sought China’s help in getting Iran to restrain proxy groups it has supported, armed and funded in the region.

That topic has taken on new urgency since direct back-and-forth attacks by Iran and Israel on each other’s soil in the past week.

Also high on the agenda for Blinken will be Taiwan and the South China Sea.

The U.S. has strongly condemned Chinese military exercises threatening Taiwan, which Beijing regards as a renegade province and vowed to reunify with the mainland by force if necessary. Successive U.S. administrations have steadily ramped up military support and sales for Taipei, much to the anger of Chinese officials.

In the South China Sea, the U.S. and others have become increasingly concerned by provocative Chinese actions in and around disputed areas. In particular, the U.S. has voiced objections to what it says are Chinese attempts to thwart legitimate activities by others in the waterway, notably the Philippines and Vietnam.

That was a major topic of concern earlier this month when Biden held a three-way summit with the prime minister of Japan and the president of the Philippines.

• Home & Kitchen
• Dining Room Furniture

Add to your order

• No Additional Cost: You pay nothing for repairs – parts, labor, and shipping included.
• Coverage: Coverage starts after the 30-day return period. Stains, rips or tears, seam separation, and more are covered. Defects in materials or workmanship covered after the manufacturer warranty expires.
• Easy Claims Process: File a claim anytime online or by phone. Most claims approved within minutes. We will send you an e-gift card for the purchase price of your covered product. In some instances, we will replace or repair it.
• Product Eligibility: Plan must be purchased with a product or within 30 days of the product purchase. Pre-existing conditions are not covered.
• Terms & Details: More information about this protection plan is available within the “Product guides and documents” section. Simply click “User Guide” for more info. Terms & Conditions will be available in Your Orders on Amazon. Asurion will also email your plan confirmation with Terms & Conditions to the address associated with your Amazon account within 24 hours of purchase.
• Buy a lot of stuff on Amazon? Tons of items eligible for coverage, from the latest tech like laptops, game consoles, and TVs, to major appliances, sporting goods, tools, toys, mattresses, personal care, furniture, and more.
• Accidents happen. That’s why for your portable products we cover accidental damage from handling such as drops, spills and cracked screens. We also cover electrical and mechanical malfunctions, power surges, and wear and tear.
• Past and future purchases covered. 30 days after you are enrolled, all eligible past purchases (up to 1 year prior to enrollment) and future eligible purchases made on Amazon will be covered by your plan as long as you are enrolled.
• Fast, easy claims. Frustration-free claims, with most filed in minutes. We will fix it, replace it, or reimburse you with an Amazon e-gift card for the purchase price of your product (excluding tax). File at Asurion.com/amazon.
• No hidden fees. For just $16.99 a month + tax you’re covered for up to $5,000 in claims per 12-month period. *THIS PROGRAM IS MONTH-TO-MONTH AND WILL CONTINUE UNTIL CANCELED* Coverage for all products ends 30 days after the plan is canceled. Cancel any time.

Enjoy fast, free delivery, exclusive deals, and award-winning movies & TV shows with Prime Try Prime and start saving today with fast, free delivery

Amazon Prime includes:

Fast, FREE Delivery is available to Prime members. To join, select "Try Amazon Prime and start saving today with Fast, FREE Delivery" below the Add to Cart button.

• Cardmembers earn 5% Back at Amazon.com with a Prime Credit Card.
• Unlimited Free Two-Day Delivery
• Streaming of thousands of movies and TV shows with limited ads on Prime Video.
• A Kindle book to borrow for free each month - with no due dates
• Listen to over 2 million songs and hundreds of playlists
• Unlimited photo storage with anywhere access

Important:  Your credit card will NOT be charged when you start your free trial or if you cancel during the trial period. If you're happy with Amazon Prime, do nothing. At the end of the free trial, your membership will automatically upgrade to a monthly membership.

Return this item for free

Free returns are available for the shipping address you chose. You can return the item for any reason in new and unused condition: no shipping charges

• Go to your orders and start the return
• Select the return method

2 Year Furniture Protection Plan

3 year furniture protection plan, asurion complete protect: one plan covers all eligible past and future purchases on amazon, image unavailable.

• To view this video download Flash Player

Lexicon Isadora Dining Chair (Set of 2), Brown

Purchase options and add-ons, about this item.

• Modern Contemporary Look + Brown Finish
• Wood Frame + Brown Fabric Upholstery
• Overall Dimension: 20.5" x 23.5" x 32"H
• Seat Width: 17"; Seat Depth: 17.5"; Seat Height: 19"
• Pieces per carton: 2; Weight Capacity: 250lbs; Assembly: Required

Buy it with

Discover similar items

• $100 - $200

Frame Material

Upholstery material, special features, included components, care instructions, seat back height, surface recommendation, finish type, fill material, top brands in home & kitchen.

Customers also search

From the manufacturer

Looking for specific info?

Product information, technical details, additional information, warranty & support, product description.

Elevate your dining room with our Isadora Collection. The sturdy wood chair frame is covered in mindy veneer and completed in a warm brown finish. A brown linen-like upholstered cushion tops chair seat. This dining height chair will be a perfect addition to any dining space.

Product guides and documents

Customer reviews.

Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.

No customer reviews

• Amazon Newsletter
• About Amazon
• Accessibility
• Sustainability
• Press Center
• Investor Relations
• Amazon Devices
• Amazon Science
• Sell on Amazon
• Sell apps on Amazon
• Supply to Amazon
• Protect & Build Your Brand
• Become an Affiliate
• Become a Delivery Driver
• Start a Package Delivery Business
• Advertise Your Products
• Self-Publish with Us
• Become an Amazon Hub Partner
• › See More Ways to Make Money
• Amazon Visa
• Amazon Store Card
• Amazon Secured Card
• Amazon Business Card
• Shop with Points
• Credit Card Marketplace
• Reload Your Balance
• Amazon Currency Converter
• Your Account
• Your Orders
• Shipping Rates & Policies
• Amazon Prime
• Returns & Replacements
• Manage Your Content and Devices
• Recalls and Product Safety Alerts
• Conditions of Use
• Privacy Notice
• Consumer Health Data Privacy Disclosure
• Your Ads Privacy Choices

• Russian Federation

Dmitrovskiy district

EG Logistics/Lobnya wh

Lobnya, Moscow Distribution Center, Dmitrovskiy district, Russian Federation

NIPPON EXPRESS (RUSSIA) LIMITED LIABILITY COMPANY

Contact our logistics experts for further information.

Our team is ready to answer any questions that you may have.

• Global Network

Expedia Rewards is now One Key™

Visit Lobnya

Check lobnya hotel availability, popular places to visit.

You can learn about the history of Moscow with a trip to Red Square. Experience the area's fascinating museums and acclaimed theater scene.

• Moscow Kremlin

Visit the most iconic square in Russia, which is bordered by many of the city’s most famous landmarks.

• Bolshoi Theatre

A centerpiece of the Russian arts scene, this theater’s magnificent auditorium and top-tier productions will impress even the most jaded theatergoer.

• St. Basil's Cathedral

Think of Russia and you probably picture this iconic building, whose onion-shaped domes overlook the Moscow skyline.

• Lenin's Mausoleum

Mourners and curious visitors stream to the grave to see the embalmed Vladimir Lenin, the famous revolutionary and one-time leader of the Soviet Union.

• Armoury Chamber

Visit one of Moscow’s oldest and most revered museums and discover more about Russian royal life and military history.

• Cities near Lobnya

• Places of interest
• Lobnya History Museum
• Chamber Stage
• Crocus City Hall
• Moscow City
• Crocus Expo Center
• Exhibition of Achievements of National Economy
• Arbat Street
• State Historical Museum
• Pushkin Museum of Fine Arts
• Ministry of Foreign Affairs
• Cathedral of Christ the Savior
• Victory Park
• VEGAS Crocus City
• Ostankino TV Tower
• Minin and Pozharsky Monument
• Triumphal Arch
• Russian White House
• Moscow Botanical Garden of Academy of Sciences