night, he crept out Into the darkness and came to the temple Dojojl, imploring the abbots

In order to translate Dojoji play of noh, koosi[‑ja Integrates sources of elements into thetechnological network. In mechEa.]OUTPUT, various video monitors show noh actors per‑to hide him Having nowhere else to hide him, they lowered the bel[ and hid him inside.

forming Do.joji. Noh actors are not physically present on the stage; however, they function

Soon the girl followed, swearing she would never let him go. At that time, Hitaka River wasas the original source of information. At the moment of distribution, koosil‑Ja copies thisinformation, decoding it into her own movement vocabulary. This is her ' Live‑Processing"Amazed to hear these words, the priest turned the girl away with a joking 5nswer. Thatswollen to a furious flood and the girl could not cross over. She ran down the bank, wildwith rage, until at last her jealous fury turned her into a venomous snake, and she easily
swam across the river.

as a model of learning. The bodily techniques of the noh actors are archived, stored andtransported onto those video monitors, and koosil‑.la Incorporates that Information tocreate her dancing body through the archival process.

The serpent glided to the Temple of Dojoji, and searched here and there until her suspicions
around the bell in seven coils. Then, breaking smoke and flames, she [ashed the bell with her

The archival process implies a separation of knowledge from the knower. This process isthe act of separating the technique from the performer to share that Information taken

tail. At once, the bronze grew boiling hot and the priest, hidden inside, was burnt alive.

from the previous knower. In this process, the knowledge is shared not only by performers,

were aroused by the lowered bell. Taking the metal loop between her teeth, she coiled

but also other non‑performers. Anyone can use the technology because it is no longer
concealed inside one's body: it has already been given to all of us. In mech[a]OUTPUT, theFrom Nanako Nakajima (Dramaturg)

information Is distributed not only to koosil‑.ja as a performer/viewer but also to the peo‑

Noh theatre is recognized as an "important Intangible Cultura[ Property" of Japan; howev‑

ple outside of Japan as non‑performers/viewers. By sharing the knowledge of the tradi‑tional Japanese cu[ture, the secret of noh is demystified and appears as an opened data‑er, it is difficult for a contemporary audience to appreciate classic noh without some backbase. It no longer matters who retains the knowledge. Now that the value of the tradition‑

ground knowledge. The texts are written In the form of verse and include quotations fromancient literature. The restricted performance style also includes cultural conventions.

al becomes flat for a radical experiment, ail of us equally depart from not‑knowing whenmech[a]OUTPUT opens up a new field of knowledge.

Even if the audience does not understand what the form means, they are supposed toappreciate the value with which this traditional Japanese form is invested. In order to pro‑

The secret of noh becomes also the restriction of noh. Using technology as a political tool,vide access to Dojoji for all the people, this project develops a hyper[ink to our contempo‑

koosll‑ja's modernization of noh makes the form less esoteric and more democratic.
Reinterpreting ancient Japanese myth in terms of modern anxieties bridges divergent spa‑rary life.

tlo‑temporal structures. it no longer matters where we are now.
mech[a]OUTPUT consists of three sections in two dimensions: a temporal and spatialstructure. mechEa]OUTPUT caret ully follows the temporal structure of the original Nohplay by creating mechEa]port 1, OUTPUT, and mech[a]port 2. mech[a]part 1 copies

Now it matters where we think we a re.

the origi‑nal first half of the Noh play. After a protagonist drops the bell, OUTPUT begins. instead oftelling the history of the Dojoji temple, OUTPUT shows a montage of archived Images ofwomen's desires to live fully as women. This part symbolically takes place Inside of thedropped bell, in which the time goes beyond linear time. Out of a temporal structure, theA B O U T T H E A R T I S T S

women's grudge is crystallized into the bell, which is a video pendulum swung by physicalemotion. In mech[a]part z, the protagonist appears as a snake woman, coming out of thebell. She transforms herself by attaching the video pendulum to her body. Now she cap‑

KOOSI L ‑ J A (Choreographer, Performer) was born in Osaka, Japan, of Korean parentage.

tures the archival memory of Do.jojiinto her body, changing her state of being on stage.

After moving to New York in 1981 to study dance with Merce Cunningham, she wasa member of the Wendy Perron Dance Company from 1987 to 1989. Koosil‑ja has

In terms of the spatial structure, the performance space consists of three areas: video

received five National Endowment for the Arts Choreographer Fellowships and twospaces, a diagonal stage space, and the g D game space. The performance style of noh

New York Foundation for the Arts Fellowships. She has provided residency activities atincludes symbolic conventions. When a noh actor looks slightly upward, it suggests thatthe moon should appear in the story. This time, koosll‑.ja uses a 3D virtual image in order

Harvestworks in NYC, The Yard in Martha's Vineyard, the American Dance Festival in

to realize the world of Dojoji. Adding to that, koosil‑ja's movements trigger the projection

Durham, NC, and in Mexico through the National Endowment for the Arts' Internationalof the 3D image. Now the 3D world becomes not only visual subtitles of Dojoji but also anProgram and the Mexican government. Her work has been presented in New York byinteractive game space, which is spatially separated from but temporally connected to oursuch venues as the gznd Street Y Harkness Dance Center, The Kitchen, La Ma Ma E.T.C.,

actual living space.

Aaron Davis Hall, Performance Space 122, The Performing Garage, Danspace Project atrk'St. Mas Church, Lincoln Center Out‑of‑Doors, Central Park Summer Stage, Whitney