A. RESEARCH: Modern Dance (Western Concert): The catalyst for Deviation and Extension in Post Structural Sound, Choreoperiodicity, Optimum Creative Dialog and the Dunnist Period in Music:

*An indepth study of a time period in Dance (Western Concert Dance) begining with Musician Louis Horst's work during the seminal stages of Modern Dance, followed by the work of John Cage and the subsequent work done by Robert Ellis Dunn at Judson Dance Theater, leading to the emergence of Post Modern Dance and new directions, explorartions and contemporary practice in the interdisciplinary artform of Dance Music.

(Begun in 2003, at the Barker Center for Dance, University of Minnesota, Minneapolis, with a series of experimental sessions redefining the Soundscape within the context of a four-dimensional moved-space)

Outcomes:

1. BOOK ( Working Title )-"Modern, Post Modern, Contemporary Concert Dance and the Dunnist Period in
Music (1960-Present) : Judson Dance Theatre, Robert Ellis Dunn, New Directions in Music and the genre of Dance Music.

*New directions, explorations and contemporary practice in the interdisciplinary artform of Dance Music.

2. The Optimum Creative Dialog Phenomenon during live Music and Dance Interactions:

*The Identification of an enhanced Creative Flow and subsequent Symbiosis, that occurs in live Dance and Music Interactions, specifically improvisations,
based on Movement Vocabulary Analysis, Pattern Recognition, Sound Analysis, Rhythmic Analysis and Flow.

3. The Omega and Alpha Constructs in Dance and Music:

*Music and its Micro Cycles of Limited Cause/Affect in Dance through Choreography and Music and its Macro Cycles of Complex Cause/Affect in
Dance through Movement Vocabulary.

4. The Open Source Dance Methodology: A comprehensive methodology which governs a transitional
phase, from student to professional, for the 21st century Dancer.

*Open Source Dance [OSD] is a comprehensive methodology which identifies the period immediately following a University/Conservatory education in Dance
as the most critical phase in the sustainability of a Dance career and provides an extensive environment inclusive of three integral components; a
Theoratical Component, a Physical component and a Cyber component. When applied in its entirety, this environment provides Dancers about to begin their
professional careers in dance, with all the necessary resources and tools to realize their potential sooner than later, which benefits the Dancer, the field of
Dance and the Dance public.  In Open Source Dance, the 21st century Dancer is the product.

5. The APTAR Process: [Modern/Post Modern Dance and negotiating 21st Century Pop Culture Multidisciplinary Art by
utilizing the APTAR Process to maintain the core Choreographic Values]

*Concert Dance, in any manifestation of its identity, is inherently a multidisciplinary art form. Modern Dance, in its short 100 year history, with the
Kinesthetic body as its instrument, driven by a philosophy of avant-garde thinking’s and explorations, provided an extraordinary environment where
extensive explorations in every aspect of this multidisciplinary identity have been possible. However, in the past decade, with developments in Technology,
the rise of Multidisciplinary Art in pop culture and the increased interest and inclusion of the Human Movement component in Visual Arts and Music fields
have now led to conflicting/confusing ideologies, identities, narratives, re-inventions and praxis. Some examples being “New Media”, "New Music", "New
Technology", “Interactivity”, “Gesture”, "Bodylang" “Motion Art” and so on. The APTAR Process, [Art-> Process->Tools->Applications->Reset]
will assist Choreographers & Dancers in asking the critical questions, What is the Art? What is the Process? What are the Tools? How are they Applied and
Reset the identity of the work according to Modern, Post Modern Dance and Contemporary Concert Dance thinking’s and practice while maintaining the
identity of the kinesthetic body and the choreograpy, at the core of this Multidisciplinary Dance work.

6. The 21st Century Dance Instrument: An amalgamation of Organic Processing Units, Electronic Processing Units, Physical
Computing Methodologies & Multidisciplinary Identities in Modern/Post-Modern & Contemporary Concert Dance.

*Based on the Multidisciplinary developments in Dance since the 1950's.
*Extending the Kinesthetic capabilities of the Dance Instrument, The Kinesthetic Body.
•Design/Build of Kinesthetic interface and associated Hardware, Middleware and Software
*Development of associated Movement Vocabulary Language & Theory.

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B. PERFORMANCE RECONSTRUCTION [Work in Progress- 2007]: "CEYLON" 1970 - Karlheinz Stockhausen's "CEYLON" with nATANDA Dance Theater of Sri Lanka.

* I was born and raised in Sri Lanka. My decades long desire to reconstruct Composer Karlheinz Stockhausen's "Ceylon", which he composed after his visit to Sri Lanka [then Ceylon] in 1970, for the sole purpose of setting it on Modern Dance [Western Concert Dance/Vocabulary] from Sri Lanka came to fruition with the emergence of Artistic Director Kapila Palihawadana and The nATANDA Dance Theater of Sri Lanka, my eventual meeting and rehearsal with him at the Dance Theatre Workshop in New York in 2009, and my subsequent return to Sri Lanka and residency with the nATANDA Dance Company at Lunuganga, Sri Lanka in 2010.

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C. PERFORMANCE RECONSTRUCTION [Research- 2012]: " THE WIND REMAINS"  1943 - Paul Bowles | Merce Cunningham | Jean Erdman

* "Stranger in a Foreign Land, Foreigner in a Strange Land, Stranger in a Strange Land, Foreigner in a Foreign Land" - Of Sheltering Sky, Taprobane, Displacement, Migration, Byzantine Generals Problem and the Avant-Garde.

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D. LABS :