Collection of David and Rebecca Ayer

Relache album stat 125.gif

What can I say? I'm a pack rat. These remnants are mostly from boxes and filing cabinets packed and stored serially in the garages of a string of homes and storage units for the last twenty-something years. Many are in better condition than I would have predicted, considering the means of production and non-archival nature of the materials used. At least most were easy to scan, not as much work to convert or as big as audio files....

Please do take advantage of the wiki nature of this site and feel free to edit this page. Correct errors grammatical, factual, or of omission; in many cases I have had to rely on memory to infer dates, so help there is especially appreciated. Also add sections of your own, or links to images of your better or variant copies and other related materials if you have them.

— Dave

Contents

[edit] Mimesis


I've got a little bit of Mimesis stuff that's not connected to Neoteric Ensemble performances, just waiting to be scanned.


[edit] Neoteric Ensemble


Tales of Power, April 1983
Poster, Tales of Power
D A Ayer
Screen print on poster board
22 x 28 inches
April 1983
© 1983 D A Ayer and Joseph Pinzarrone
Imagery came from photos Joe had from an earlier performance (1976 at the University of Deleware, as Joe explains). Both the maids in aprons and the bassoonist pope were hand-copied, cut out, and used as friskets over translucent vellum. Additional masking was done with rubber cement to create splatter text and the bassoon aura. The whole thing was then spray painted black to get the final image for phototransfer to a silk screen. Printing was a single impression using black and red inks together.
This copy is still in reasonable condition almost thirty years later because we reserved a few artist's proofs for posterity. Archival materials were not used, and the quality of the printing is laughable by NIU Art Department standards, but the job came in at the right price. I recall borrowing everything except the paper and photo emulsion, maybe the black ink.
At that point I was not a member of the ensemble, and still tend to think of this as my audition.


Edit or add more information: Ayer_Collection_0000


Ensemble Performance Series, November 1983
Program, Ensemble Performance Series
Joseph Pinzarrone, Tim Blickhan, et al
Plain paper copy
8 1/2 x 11 inches
November 1983
Northern Illinois University, College of Visual and Performing Arts
A program from 1983 lists the members of the day. Three additional pages reproduced the scored instructions for Mark Bobak's and Erik Deerly's featured works along with Margaret Atwood's Against Still Life. These are reproduced as part of Blickhan Collection 0005.


Edit or add more information: Ayer_Collection_0001


Cathy Church's Senior Recital makes the news....
...twice!
Photo, Cathy Church Senior Recital
Newsprint
February 1984
© 1984 The Daily Chronicle
I was photographed performing in the scored demolition of an old player piano during this guest appearance of the ensemble at Cathy Church's Senior Recital. Speculation followed about the impact this photo had on the NIU School of Visual and Performing Arts' reputation and fundraising programs after concerned Daily Chronicle readers assumed we had destroyed school property. In fact, the piano had been liberated from an Illinois barn and had to be cleansed of layers of straw and bird droppings before making its final appearance.
Hat tip to Tim for getting permission to publish from the Chronicle and for having a much better memory than I about the preparations. He also furnished a copy of the poster and provided the image of the Chronicle's follow-up clarification.


Edit or add more information: Ayer_Collection_0002


Selling Out, April 1984
Poster, Selling Out
D A Ayer
Plain paper copy
8 1/2 x 14 inches
April 1984
© 1984 the artist
Sung to the tune of Puttin' On the Ritz, Robert(O) Mendel's lyrics ushered in the ensemble's answer to an Orwellian year in which we anticipated a Presidential reelection and more misery for the state of education in America. Clearly most of us were not going to make a living in the "fine" arts, so why not go commercial at the outset?
Despite a DeKalb tradition of sacrificing cash for culture—a contemporary student show included artworks made out of corners ripped from real US currency—and thanks to the miracle of self-service plain-paper copying, no actual dollar bills were harmed!


Edit or add more information: Ayer_Collection_0003


Audio cassette label, April 1984
Audio cassette label, DOGSWILL RAVE
D A Ayer
Plain paper copy on hand-cut card stock
7 1/2 x 4 inches
April 1984
© 1984 the artist
One of the hallmarks of a sellout is merchandise available for sale in the lobby. The Indie approach of the day was to use analog cassettes since they were readily available and cheap. E X Rator had access to a high-speed dubbing deck so it was possible to make these quickly. Oddly enough I don't seem to have a copy of the actual audio tape and so I got wondering whether we ever really made any....
Thankfully, Tim had one!


Edit or add more information: Ayer_Collection_0004


Ministry of Culture, April 1984
Department roster, Ministry of Culture
D A Ayer
Handwritten notes
8 1/2 x 11 inches
April 1984
Cc by sa 80x15.png 1984—2012 D A Ayer
Like the traditional Electric Pumpkin Patch, Selling Out was a distributed performance occupying as much of the NIU music building as the Ensemble could get access to and manage to "staff." One side-effect of the approach is that no one saw the entire performance, with the performers at least as in the dark as the audience. The Ministry of Culture was staffed by someone else, and in the end I'm pretty sure it had little to do with this early brainstorm based on Orwell's book.
Got memories? Please help flesh this out!


Edit or add more information: Ayer_Collection_0005


Invitation, October 1984
Invitation, Electric Pumpkin Patch
Joseph Pinzarrone
Mimeograph copy
8 1/2 x 11 inches
October 1984
Northern Illinois University, College of Visual and Performing Arts
Saved more for its historical implications—Back Before Digital—this piece of paper reflects the painstaking nature of mid-80's authoring and copy methods. Few among us even had access to correcting typewriters, so when speed was needed, corrections were made in situ. Still legible, despite the ravages of time.


Edit or add more information: Ayer_Collection_0006


Neoteric Ensemble, April 1985
Postcard, Neoteric Ensemble
Rebecca Ayer
Collage on poster board
6 x 4 inches
April 1985
© 1985 the artist
Becky would pick up a Star or National Enquirer issue now and then just to save for collage purpose. These were one-offs she then posted around the music building the week of an event. They seemed to escape the usual enforcement of the Student Association—posters were required to have an official SA stamp—by not being posters per se.
What was the event? Where was it happening? "Moose-lift continues" says it all.


Edit or add more information: Ayer_Collection_0007


Mostly Field Effect Theater, April 1985
Poster, Mostly Field Effect Theater
D A Ayer
Plain paper copy
8 1/2 by 11 inches
April 1985
© 1985 D A Ayer
In case you were wondering what the moose-lift was all about, this informative poster cleared everything right up.
This was the first of the pieces that evolved into the Elastic Theatre over the coming months. The idea was to create a improvisational symphony of actions chosen by the performers acting strictly alone, avoiding any pre-arranged interactions. Would "meaning" emerge?
Note this was back in the days when the cheap way to set type was by hand using rub-on transfers. It wasn't my strongest suit but the finish quality was better than that of my silk screens.


Edit or add more information: Ayer_Collection_0008


Punto Cinco Alternative Performance Series, May 1985
Program, Punto Cinco Alternative Performance Series, Virtuoso Works for Elastic Theatre
Joseph Pinzarrone and E X Rator
Plain paper copy
8 1/2 x 11 inches
May 1985
© 1985 Punto Cinco/Mimesis
This program is from the Punto Cinco event which followed MOSFET by about three weeks. This was the first use of the Light Arc photosensitive instrument interface, which we married to a computer-controlled synthesizer—I recall Betsy Start was the synth technician and performer, but don't see an acknowledgement—and renamed the Elastic Theatre. The group experimented with various approaches to this situational performance method throughout the summer.


Edit or add more information: Ayer_Collection_0009


Virtuoso Works for Elastic Theater, May 1985
Poster, Virtuoso Works for Elastic Theatre
Joseph Pinzarrone and E X Rator
Plain paper copy
8 1/2 x 11 inches
May 1985
© 1985 Punto Cinco/Mimesis
This poster for the Punto Cinco Elastic Theatre performance acknowledges funding from the Illinois Arts Council. It was an off-campus event attended largely by an NIU campus crowd.
There was a lot happening on Lincoln Highway in 1985. I may have the attributions wrong here, because sometimes the photos were taken by itinerant and not local talent. Please help me get it right!


Edit or add more information: Ayer_Collection_0010


ArtBus, November 1985
Program, ArtBus
Neoteric Ensemble et al
Plain paper copy
8 1/2 x 11 inches
November 1985
Northern Illinois University, College of Visual and Performing Arts
This was the program handout for the ArtBus performance. It was initially intended to be handed to passengers only as they were boarding the bus. Note the ART MAY BE EVERYWHERE SERIES tagline. More contributors are credited here than we can even remember today....


Edit or add more information: Ayer_Collection_0011


ArtBus, November 1985
Poster, The Bus
Neoteric Ensemble et al
Plain paper copy
8 1/2 x 11 inches
November 1985
Northern Illinois University, College of Visual and Performing Arts
One of the more striking graphics produced in the ArtBus poster series, this example captured the obfuscatory aspect of the ArtTrain promotions found around campus—What the heck is an ArtTrain, anyway?—but managed to look sophisticated and cool in spite of it.


Edit or add more information: Ayer_Collection_0012


ArtBus, November 1985
Poster, The Bus
Neoteric Ensemble et al
Plain paper copy
11 x 8 1/2 inches
November 1985
Northern Illinois University, College of Visual and Performing Arts
One of the clear aesthetic markers of the ArtBus was its lack of any unifying aesthetic. This was not some neighbor-state, DOW Chemical sponsored, traveling tax write-off but maybe some sort of grassroots transportation agency. The more random the posters appeared, the larger the force that spawned them appeared to be....
There's no clear attribution on this one, so if the real artist would please stand up and edit this article it would be a great boon. (We think we know but we've been wrong before.)


Edit or add more information: Ayer_Collection_0013


ArtBus, November 1985
Poster, ArtBus is Coming
Neoteric Ensemble et al
Plain paper copy
11 x 8 1/2 inches
November 1985
Northern Illinois University, College of Visual and Performing Arts
This ArtBus poster riffed on the ///ArtTrain logos which were appearing everywhere in town. The very notion of the former Michigan ArtTrain as a corporation was repellant to starving students coming to grips with 1980's employment realities.
Again we are seeking an attribution and commentary from the original artist.


Edit or add more information: Ayer_Collection_0014


ArtBus, November 1985
Logistics notes for ArtBus
D A Ayer
Pen on paper
8 1/2 x 11 inches
November 1985
© 1985 D A Ayer and the Neoteric Ensemble
The ArtBus was a triumph of committee planning. Somehow we were able to collaborate successfully without trampling all over each others' feet, and the division of labor was organic and natural; those with interest and experience in some discipline got to do those things, didn't even have to try to avoid the others, and somehow all the bases were covered and it all worked out. A mess of notes from this exercise survive, and since most of the papers are undated they have no particular innate order. Artifacts. Ephemera. Such is ArtBus.


Edit or add more information: Ayer_Collection_0015


ArtBus, November 1985
Timetable study for ArtBus
D A Ayer, Rebecca Ayer, Larry Nordstrom
Pen and pencil on paper
8 1/2 x 11 inches
November 1985
© the artists
This is the overlay drawing based on the town street map capturing the drive time between sites on the various bus routes. Since the two buses would drive different routes to deposit and collect passengers all about town, we needed to calculate all possible drive times and then choose the segments that worked. Both buses were empty most of the time as they shuttled between locations and transported two programmatically distinct yet individually coherent audiences.


Edit or add more information: Ayer_Collection_0016


ArtBus, November 1985
Tour guide plan for ArtBus
Rebecca Ayer and D A Ayer
Pen on paper
8 1/2 x 11 inches
November 1985
© the artists
For folks not driving the buses, neither the town street map nor timetable study were particularly helpful. We needed traditional roles and blocking. Becky translated the public transportation plan into performer actions and took charge of tour guides Joel, Kurt, and Steve (Steve was reassigned when we were unable to obtain Wirtz Hall dormitory staff support).


Edit or add more information: Ayer_Collection_0017


ArtBus, November 1985
Timetable study for ArtBus
D A Ayer, Rebecca Ayer, Larry Nordstrom
Pen and pencil on paper
8 1/2 x 11 inches
November 1985
© the artists
Wetware in action! A companion drawing to the town street map and first timetable study, this documents another stage in the logistics and route planning process. It was an attempt to abstract the route segment durations away from the physical routes. We can still claim it worked, even though it could never be proven necessary.


Edit or add more information: Ayer_Collection_0018


ArtBus, November 1985
Bus route dry run notes for ArtBus
D A Ayer, Rebecca Ayer, Larry Nordstrom
Pen on paper
8 1/2 x 11 inches
November 1985
© the artists
Getting to the final route map required an empirical test of the timetable study assumptions. Our dry run came in under plan by three minutes—at 01:07:24 versus 01:10:21—and we figured that was well within tolerance for any live music event, as long as it wasn't boring.


Edit or add more information: Ayer_Collection_0019


ArtBus, November 1985
Route map for ArtBus
D A Ayer, Rebecca Ayer, Larry Nordstrom
Pen on plain paper copy
8 1/2 x 11 inches
November 1985
© the artists and DeKalb Chamber of Commerce
This map copied from the Dekalb telephone directory was the entire route plan. Since we had two professional bus drivers—regulars on the Husky line which operated about town and the NIU campus—engaged, all we had to do was highlight some of the more obvious route choices once the locations were established. This was enough to start driving and timing the possible route segments. Either we got it right the first time, or our drivers improvised better routes in performance.


Edit or add more information: Ayer_Collection_0020


ArtBus postcard, November 1985
Postcard, Neoteric Ensemble
Rebecca Ayer
Collage on poster board
6 x 4 inches
November 1985
© 1985 the artist
Becky whipped it out again for the ArtBus event with a semi-random postcard or two. Though two media transformations—digital photo to JPEG followed by color adjustments in GIMP—can't quite resurrect the original DayGlo look and feel, "Mr. Travel" captures the spirit of the thing succinctly.


Edit or add more information: Ayer_Collection_0021


ArtBus postcard, November 1985
Postcard, Neoteric Ensemble
Rebecca Ayer
Collage on poster board
6 x 4 inches
November 1985
© 1985 the artist
Somehow the tabloids and local press coughed up yet another set of inspiring non sequiturs for our use. History buffs will recall the US invasion of Grenada was two years before, in '83. Never, ever, underestimate the power of a hole punch.


Edit or add more information: Ayer_Collection_0022


5/5: 11th Annual Juried Show of Illinois Artists, December 1985
Flyer, 5/5: 11th Annual Juried Show of Illinois Artists
Randolph Street Gallery et al
Plain paper copy
8 1/2 x 11 inches
December 1985
The Neoteric rang out 1985 with a reprise of the Elastic Theatre theme in downtown Chicago's Randolph Street Gallery. By this time there had been several personnel changes, and I would love to see a program with the list of performers should anyone still have one. Of course it is possible we never produced one, as the Ensemble's organization abilities had been thoroughly taxed by ArtBus and logistics was not the strongest suit of the Chicago fringe galleries (few could survive on the largesse of the Illinois Arts Council alone, so day gigs conflicted as a rule).
Those interested in the fate of the Randolph Street Gallery may be interested in the archive project posted by students of the School of the Art Institute of Chicago, which acquired the RSG ephemera after the gallery closed in 1998.


Edit or add more information: Ayer_Collection_0023


Application, 5/5: 11th Annual Juried Show of Illinois Artists, November 1985
Application, 5/5: 11th Annual Juried Show of Illinois Artists
D A Ayer for the Neoteric Ensemble
Plain paper copy
8 1/2 x 11 inches (truncated from original)
November (?) 1985
The Randolph Street Gallery made a space available for performance as part of the annual juried show "5/5", named for the number of participating galleries. The Ensemble applied to present Elastic Theatre (note the spelling of "theatre" is persistently inconsistent).


Blank application (front)
Blank application, 5/5: 11th Annual Juried Show of Illinois Artists ( front)
Randolph Street Gallery
Plain paper copy
8 1/2 x 14 inches
November (?) 1985
Here is the original blank application in all its double-sided, 8 1/2 by 14 inch glory.


Blank application (back) with floor plan
Blank application, 5/5: 11th Annual Juried Show of Illinois Artists (back)
The application is notable chiefly for the floor plan. Interestingly, it was rare to receive one when planning a performance—often only rough room dimensions were available, or one was invited to "come down and check out the space"—but galleries specializing in concrete works tended to have dimensioned plans on file. RSG, which catered to performance and video art, provided better information than most.


Edit or add more information: Ayer_Collection_0024


Phone message, December 1985
Phone message re
5/5: 11th Annual Juried Show of Illinois Artists
Paul Szlacht
Pen on notebook paper
8 1/2 x 11 inches (approx.)
December 1985
Back before cell phones this is how things got done. Our entry was acceptable at half its planned length, as we'd be sharing the stage one evening. Thirty minutes was better than 03'09" so we took it.
This memo was saved for character. Alert the handwriting analysts!


Edit or add more information: Ayer_Collection_0025


Contract, Randolph Street Gallery, November 1985
Signed contract, Randolph Street Gallery, 5/5: 11th Annual Juried Show of Illinois Artists
D A Ayer for the Neoteric Ensemble
Plain paper copy
8 1/2 x 11 inches
November 1985
Our contract limited RSG's liability, ensured we cleaned up after ourselves, and entitled us to an honorarium sufficient to cover some of the costs of gasoline and duct tape.


Edit or add more information: Ayer_Collection_0026


Relâche, April 1986
Poster, Relâche
D A Ayer after Erik Satie
Plain paper copy
8 1/2 x 14 inches
April 1986
© 1986 the artist, with thanks and apologies to M. Erik Satie
The Ensemble recast Erik Satie's notorious ballet instantanéiste as an improvised bachelor party, accompanying René Clair's film Entr'acte at the interval. The elements of the poster—largely ripped off from Satie's own work—include a plastic milk jug; latex-covered milk jugs were an integral part of the makeup for the male performers, each of whom had an extra handle plus six inches of added height during the show.


Edit or add more information: Ayer_Collection_0027


Relâchestage directions, April 1986
Stage directions, Relâche: a Piece for Dogs
D A Ayer and the Neoteric Ensemble, after Erik Satie
Pen on paper
8 1/2 x 11 inches
April 1986
© 1986 D A Ayer and the Neoteric Ensemble
The Ensemble intercut a performance from the piano reduction of the Relâche score on stage with an improvised banquet of academic fools in the middle of the audience.


Edit or add more information: Ayer_Collection_0028


Stills from Relâche: a Piece for Dogs
Erik Satie interpreted by the Neoteric Ensemble
Recording by Panda Kroll and Larry Nordstrom
VHS tape
55' 40"
April 1986
Images © 1986 the Neoteric Ensemble
These are samples from one of two video tapes made at the performance. Captions correspond roughly to the scenes according to the stage directions, which were based loosely on the headings in Satie's score.
The West End costumes of Toujours Perdrix fame made a guest appearance. Produce was in the air. Liberties were taken throughout the performance—though the film score was followed as faithfully as the Ensemble's abilities allowed—and there was plenty of cleanup required afterwards.
Tableau: Tim Blickhan lights the candles
Tim joins Dr. Reeves at the piano
The Woman examines the Decor: Carol Funke
Tableau: the Banquet
Tableau: the Banquet gets old
Grand Old Men
Testimonial to our friend Satie: Dean Langston
Testimonial to our friend Satie: Joel Davel
Men in Hats, background and foreground
Testimonial to our friend Satie: Dave Ayer
Testimonial to our friend Satie: Kurt Stallmann
The Woman sits...and smokes
A Toast!
Farewell, Satie! Jim Slenger
Satie's proposition
Dance of the Revolving Door
Page turn: Dance of the Revolving Door
Page turned
The Woman at the Door
Enter Men
Dance of the Woman
Dr. Robert Reeves, piano I
Piano I
The Orchestra assembles
Prologue Cinématographique film credits
Prologue Cinématographique: Satie and Picabia put one over on the audience
Entr'Acte: the Orchestra begins
Entr'Acte: Kurt on keyboard
Entr'Acte: Joel on mallet percussion
Entr'Acte: Steve Doyle on guitar
Entr'Acte: find Betsy Start, cello
Entr'Acte: Joe Pinzarrone, piano II
Entr'Acte: Becky Ayer, viola
Entr'Acte: Carol and Dave
Entr'Acte: Tim doubles on bass, with Jim on guitar in background
Act II: the Men return
The Woman poses the Men
We are the Posed Men
Satie and the Woman dance
Steve busses the Table
Dance of the Wheelbarrow
Exeunt Men
The Dance of the Crown
An Elvis curtain call
Applause?
Jefe Pinzarrone inspects the damage
Wayward videographer Panda Kroll
Yet more applause?
Dr. Reeves and Tim tear down
The Men's dressing room
Alumni sightings: Brett Hamilton
Alumni sightings: Robert(o) Mendell
Steve heads out
Camera One


Edit or add more information: Ayer_Collection_0041


Clips from Relâche: a Piece for Dogs
Erik Satie interpreted by the Neoteric Ensemble
Recording by Panda Kroll and Larry Nordstrom
VHS tape
55' 40"
April 1986
Images © 1986 the Neoteric Ensemble
Here are a few video clips.

The media player is loading...

The Woman (Carol Funke) examines the Decor; segue to Steve Doyle's testimonial to Satie. The Men finally get to break the poses they've held for the last twenty minutes as the audience was seated and the overture played.

If the clip doesn't behave in your browser, try this link to open the file in your local MPEG-4 capable video player or this one to use a local Flash player. Be prepared to wait for slow connections.

The media player is loading...

The orchestra accompanying the film. File links for your local MP4 or Flash player.

The media player is loading...

The Woman dances with Satie (Jim Slenger). File links for your local MP4 or Flash player.

The media player is loading...

The Dance of the Wheelbarrow and first of several exits. File links for your local MP4 or Flash player.

Be advised that getting video up on this site is an experimental effort. Not all video will play in all browsers. We welcome advice on better tools to address this, or you could just carp about technology's unholy alliance with the Military Industrial Compex, etc. Interested parties, please check out the Video Sandbox.

Do contact us and tell us what works and what doesn't. Don't forget to include the version of the browser and the operating system you're using.


Edit or add more information: Ayer_Collection_0042


Fried chicken, April 1986
Prop from Relâche: a Piece for Dogs
Tim Blickhan et al
Plain paper copy
8 1/2 x 11 inches (truncated)
April 1986
® 1986 the Neoteric Ensemble
The official banquet food of academic fools the world over was served.


Edit or add more information: Ayer_Collection_0029


Credits, Relâche, April 1986
Performance credits for Relâche: a Piece for Dogs
The Neoteric Ensemble et al
Plain paper copy
8 1/2 x 11 inches (truncated)
April 1986
The Ensemble invited guest faculty and its own alumni to provide the orchestra. Video, film, and effects were coordinated by Norman Magden. Panda Kroll doesn't appear in the credits but managed to document the performance on VHS.


Edit or add more information: Ayer_Collection_0030


Response to Relâche, April 1986
Public reaction to Relâche: a Piece for Dogs postponement
Critique anonyme
Plain paper copy
8 1/2 x 11 inches
April 1986
The performance was intentionally delayed to the usual nine PM time slot. Not everyone was pleased. Tomatoes and eggs were hurled during the final act.


Edit or add more information: Ayer_Collection_0031


Postcard, Neoteric Ensemble, November ____
Postcard, Neoteric Ensemble
Rebecca Ayer and family
Collage on poster board
6 x 4 inches
1985 or 1986
© the artist
Nobody seems to have any better idea about this one than what's written here. Feel free to chime in.


Edit or add more information: Ayer_Collection_0032


Links Hall Performance Series, April 1986
Flyer, Links Hall Performance Series (front)
Michael Zerang et al
Plain paper copy on card stock
6 x 7 1/2 inches
April 1986
Links Hall/Filmmakers
Will write something about this object soon.


Links Hall Performance Series, April 1986
Flyer, Links Hall Performance Series (back)
Ditto.


Edit or add more information: Ayer_Collection_0033


Electric Pumpkin Patch, October 1989
Invitation, Electric Pumpkin Patch
Harry Castle and D A Ayer
Plain paper copy
8 1/2 x 11 inches
October 1989
© 1989 the artists
Something coming soon.


Edit or add more information: Ayer_Collection_0034


Electric Pumpkin Patch, October 1989
Poster, Electric Pumpkin Patch
Harry Castle and D A Ayer
Plain paper copy
8 1/2 x 11 inches
October 1989
© 1989 the artists
Something more coming soon.


Edit or add more information: Ayer_Collection_0035


Electric Pumpkin Patch, October 1989
Floor plan, Electric Pumpkin Patch
Harry Castle and D A Ayer
Dot matrix print
8 1/2 x 11 inches
October 1989
© 1989 the artists
There's a reasonable explanation for this.


Edit or add more information: Ayer_Collection_0036


The Frogs, May 1990
Poster, The Frogs
Photino and the Neoteric Ensemble
Plain paper copy
11 x 17 inches
May 1990
© 1988, 1990 Roger Anderson
Harry decided to reprise Joe Pinzarrone's earlier Greek cycle. There's a back story and more here that needs to be fleshed out.


Edit or add more information: Ayer_Collection_0037


Three Trillion Pints of Lite, June 1990
Program, Neoteric Ensemble, Three Trillion Pints of Lite (cover)
Neoteric Ensemble et al
Plain paper copy
5 1/2 x 8 1/2 inches (approx.)
June 1990
Is this the last program?


Three Trillion Pints of Lite, June 1990
Program, Neoteric Ensemble, Three Trillion Pints of Lite (inside)
The players of the day had their say. "It's over?"


Edit or add more information: Ayer_Collection_0038


Three Trillion Pints of Lite, June 1990
Questionnaire, Three Trillion Pints of Lite
Neoteric Ensemble et al
Plain paper copy
5 1/2 x 8 1/2 inches (approx.)
June 1990
A handout from the performance.


Edit or add more information: Ayer_Collection_0039


Three Trillion Pints of Lite, June 1990
Three Trillion Pints of Lite, June 1990
Three Trillion Pints of Lite, June 1990
Three Trillion Pints of Lite, June 1990
Three Trillion Pints of Lite, June 1990
Three Trillion Pints of Lite, June 1990
Postcards, Three Trillion Pints of Lite
Neoteric Ensemble et al
Plain paper copy on hand-cut stock
7.5 x 5 inches (approx.)
June 1990
Looks like this is the end.


Edit or add more information: Ayer_Collection_0040


[edit] Punto Cinco


Just a place holder for our Punto Cinco and Espacio Cinco poster hoard, not entirely moldered away yet....


[edit] Potato Engineers


Assuming Photino has no objection, this stuff will go up as soon as I find a large enough flatbed copier. Tax time always sends us over to Kinko's for an afternoon so the opportunity should come soon enough.


[edit] Solo stuff


Dave and Becky's own home-rolled material and miscellany will show up here once converted.