An Essay on the Improvement of the Community

An Essay on the Improvement of the Community

Southampton, Pennsylvania

Further discussions are present under my notes section on Facebook.

11/1/09 Introduction

Being a resident of Southampton is more a result of circumstances than it is of choice for me. Of course, I made the choice to accept my circumstances and therefore being a resident of Southampton is a matter of choice. But if I were looking at the things that Southampton has to offer from the outside, I must honestly say that I would most likely not choose to live here. I have yet to find the place which best suits my essential nature and I believe that it is virtually impossible to do so while living in this world, being that we are all exposed to circumstances that are not of our own making and are forced to adapt.

I grew up in Southampton, left here and now I'm back. I go to church in Bryn Athyn and spent many years living in Doylestown, New Hope, Quakertown, & Bethlehem. I've lived & worked in Boston, New York, San Francisco, and Los Angeles as an itinerant theatre artist & filmmaker. I've traveled around the country and visited most of the continental United States.

So after relocating countless times and having reached an age where wandering around is no longer desirable to me, I live here in Southampton, back where I started.

My introduction into the world of theaticality

When I was eight years old, I was in the Southampton Independence Day Parade in 1962. Here is proof of this as I stand in my Indian Chief costume on the float for Indian Guides on the front cover of the Philadelphia Inquirer.

I consider this my debut into theatre, not counting elementary school. I didn't do theatre in high school, although I did hang around the stage. I did do film-making in high school and then in college, where I got a degree in Mass Media/Cinema.

I've been employed by a number of High Schools, Colleges, & Universities, to work in technical theatre and A/V, both as a subcontractor and in supervisory roles. I've worked as a producer/director/designer/writer/actor/filmmaker on over 350 productions in my career. I've been trained as a machinist and have abilities in fabricating which have served me well as a Technical Director/Lighting & Set Designer on numerous productions, including my work for the New Hope Art Commission during my nine-year tenure with the New Hope Performing Arts Festival. I began my volitional journey into theatre at the age of 23 by producing concerts at The County Theatre in Doylestown as a result of which, I suggested to the Bucks County Commissioners that they turn the Old Prison into an Art Centre & Library, years before the prison was moved or that actually occurred.

I re-designed The County Theatre into a Performing Arts Centre and began to propose that for Doylestown, when I suddenly moved to Boston. Years later, after returning from California I proposed to the New Hope Planning Commission that they consider a movie studio compound when considering permits for a particular parcel of land, which led the Planning Commission to request that I consider the The Union Bag Works for that purpose. Years later, I designed a Performing Arts Centre for New Hope, while working for the New Hope Arts Commission, which was well considered for construction.

I've maintained nine studio or shop locations over the years, including; Doylestown, Stony Run, Dublin, New Hope, Solebury, and Southampton in Pennsylvania, as well as offices in Boston & Hollywood. I was offered offices on Warner Brother's lot. The current and longest office being in Southampton and the last scene shop being on a ten-acre farm in Solebury for three and a half years, prior to the illness & death of my wife.

And so, this is the background from which I derive my perceptions of what might be possible in Southampton and do hereby put forth as suggestions for the improvement of the community.

• The essays below where written with the intent of initiating dialogue on the subject, which has happened and has led to numerous other points of discussion. I may re-order these essays into separate blog postings with the appropriate links where the subjects can easily be updated. If so, you will find these links being inserted below.

Part I - The Aesthetics of the Centre of Town

It is my feeling that the heritage of Southampton has fallen by the wayside because of development that has not taken into account the aesthetics of the centre of town. This is not something that can easily be controlled without an association of property owners who have come together with a like purpose of creating an atmosphere and by working together to achieve a collective goal. There are certain elements that can be controlled by the government of the township which would help to encourage the creation of that atmosphere and it is those elements which need to be addressed before any progress can be made.

The most obvious problem is the traffic thru the centre of town. As I see it, the biggest issue are the drivers who disobey the traffic laws by using the centre emergency lane as their own personal passing lane. To my way of thinking the centre lane should be more clearly demarcated to indicate this and people should be forced to obey the lane restrictions, even to the point of citations. It is very clear to me that the addition of a brick appearance to the centre lane, such as was done in Rosyln will help to designate that lane as not a traffic lane. It is also clear that the traffic lights are not properly timed to control traffic. The areas of congestion need to be timed so that the traffic will clear out before more cars are permitted in those lanes. If the traffic moves too slowly because of the lights, so be it. At least it will not move slowly because of congestion. If people do not like the traffic signals slowing things down, they will find another route.

The intersection at Second Street Pike and Knowles Avenue needs to have a traffic cop controlling that intersection from time to time, particularly during rush hours. People do not obey the traffic signals and are jamming up the intersection. They are not obeying the lanes and are bullying their way into creating more lanes than actually exist. I have run into drivers who are passing all other traffic in the centre lane and doing so thru the intersections at great risk to the safety of the other drivers. An officer controlling traffic and another citing people who violate will give those abusive people a rude awakening and bring the traffic back under control. There is too much passing on the right and there are apparently too many people who do not know the rules of the road.

Besides the obvious addition of improved sidewalks, street lamps, decorated cross-walks and centre lane (refer to Roslyn/Fox Chase & Hatboro), there are other more significant improvements that can and ought to be made. I have come to the conclusion that the centre of focus for the township needs to be on the railway system that runs thru what might be considered the centre of town.

• 12/10 NOTE: This statements below was included in an email discussion about the potential for the centre of Southampton to take advantage of it's Victorian remnants , as scant as they may be.  

• Obviously,  I have an interest in seeing the rail line become a functional asset to the community, both for the fact that I live a stone's throw away from the train station and for the sake of the programs I am trying to implement at the park. So I am and will continue to try to encourage this concept to move forward. 

• By the way I've suggested this concept to the American Trolley Tours and recently noticed the Bucks County Trolley Company passing thru Southampton.  

• I think that if this concept is to succeed that there ought to be discussion about renovations to the small centre section of Southampton that surrounds the Train station.  By that I mean brick sidewalks and attractive victorian street lights. I think it is important to encourage the restoration of what little history remains in Southampton into a quaint village environment. 

• One might consider the fact that the remaining buildings on the east side of Second Street Pike (near the train station) are ripe for an "artistic, aesthetic village setting, if the sidewalks and lighting were to be groomed. There are the remnants of a Victorian Setting and it is those remnants that need to be enhanced if Southampton is to become a desirable place for people to visit, particularly if a trolley line were to become a tourist attraction (which I most certainly think it could be).  

• Clearly, all this would take a lot of effort & time to implement, but such thinking needs to be integrated into the awareness of the managers and others who can effect such changes in the environment.  I already mentioned to the township manager that I thought the property behind the train station should be a park oriented towards things like a sculpture garden or other more culturally sound elements. Maybe a music shell for the orchestra.  

• If such a thing was to be included then grooming the centre of town as a walking area would work well in conjunction with a train museum/trolley line to the area parks.  Such a thing would create a truly unique array of circumstances with Southampton being the hub. 

• In regard to that concept of the centre of Southampton being a hub- my plan, if I succeed with my project "The Gnomes of New Hope" (which I anticipate has very high income potential) I would like to buy the Old Church in the centre of Southampton and to turn it into a theatre. 

• That being said, a Park behind the theatre would be a most desirable option for the use of the land, particularly if there was a music shell there. 

• If it ever turns out that I generate enough money from that project I would buy both parcels and do just that, restoring the house that is currently on the property.   Now obviously these are all concepts that may never be implemented, but right now they are possible.  Once these parcels become cluster housing, any cultural facilities or tourist opportunities will likely be gone.    

• So I put forth these ideas as a way of planting seeds which may grow into an improved cultural setting for Southampton, which in my opinion would save the community from the oblivion of the urban blight which has already practically negated any aesthetic qualities that it has had.

Continuing... It may be advantageous to have a trolley car run along the centre lane from time to time, if for no other reason than to help to designate that lane for other uses, particularly during rush hour. Eventually that may become a useful service for the citizens of the town and to help eliminate congestion by allowing people to park in one lot and move about town without being involved in the rush hour traffic. This would serve to encourage foot traffic which will make the town more desirable as a whole. This might start out as a weekend item which would also encourage tourism of some sort.

Part II - The Railway System

It is clear that this rail system was, at one time, the hub of activity in Southampton and it is clear to me that this is the one very obvious remaining element in a heritage that is barely noticeable in the centre of town.

It is quite natural that over time modifications will be made to the land and buildings in any area, but it is incumbent upon the managers of the town to preserve certain aspects of the community, which will foster pride and unity and help to bolster the economy of that community.

Within the heart of Southampton lies the remains of a railway system, which for the most part has been neglected and consigned to the whims of the managers of that railway system, SEPTA. SEPTA- has essentially abandoned those rail lines and has failed in their obligation to the community in regard to properly maintaining those rail lines.

It is my opinion that the communities thru which those rail line run, should take possession and responsibility for those rail lines. Particularly, in the face of the fact that- Septa has abandoned those lines. The operation of a rail system across the township and/or to the adjacent communities is something that could be of great economic benefit to Southampton.

I say this because it is a clear fact that Southampton is the only community in the immediate area of Bucks County where the centre of commerce is in close proximity to the train station. Consider the population between Bethayres and Newtown. Now consider the possibility of stops along that rail line in Bryn Athyn/Pennypack Nature Centre, Southampton/Tamanend Park, Churchville Nature Centre, ultimately Newtown and in-between.

Even if this line where only run as a novelty line, utilizing a "turn-of-the-century trolley car" operated with a diesel power plant, the viability of restoring the line to operating condition, even on weekends would be clear. In addition to bringing tourists into the area to spend a day going between the nature areas, the refurbishment of the rail line would bring work to the people who would run and maintain this line and give people another option for moving across the township, if not further along the line.

In today's world of traffic congestion and fuel consumption, the restoration of this line will serve the community by providing parking lots at Bristol Road and County Line Road and provide a line that intersects with the SEPTA bus lines at Street Road and Second Street Pike.

There has been serious talk of a cross county line that runs from Newtown, thru Doylestown and on to Quakertown. If this where to become a reality, then the Southampton line would be an essential connection to that line. It is because of this that I heartily recommend that any consideration of removal of the railroad track in a rail to trails scheme be cast aside. Once the railroad tracks are removed, it is very unlikely that they will ever be replaced. A functional rail system has proven itself over time and will once again prove to be a part of the future.

We all know quite well that the trolley system was removed because of the automotive interests in the early part of the 20th century and their desire to cause the economy to be based in everyone having a car. The removal of those trolley lines was a mistake that should never have been permitted as evidenced buy our current traffic situation.

We are faced with huge economic challenges due in large part to our economy being based in the automotive industry (which we have lost to foreign interests) and the development of the suburbs as a result. Southampton has an opportunity to stand strong as an example of a community that does not care to fall victim to the superficial interests that fail to recognize the significance of having a resource like a rail line in the heart of it's community.

By taking charge of that resource, utilizing it and creating and operating trolley line within the boundaries of the community, Southampton will build civic pride and serve as an example to other communities who may follow suit.

If it is clear, and I think it is, that SEPTA cannot operate the rail line, then those communities where the line resides should be free to do so. I say this with the caveat that the rail lines must remain rail lines.

If each community cares to lease the rail lines back to SEPTA or to another operator who may operate a trolley, so be it, but the control of the lines should remain with the community, under certain stipulations that they cannot prevent the use or passage of the line. Certainly, the rail line can and should be operated like a toll road and those tolls would be applied to the maintenance of the line. For those communities that do not want to maintain the lines themselves, that maintenance can be contracted out and inspection would need to be part of the scenario, but if each community were responsible for the rail lines and the beneficiary thereof, then we would not be faced with the decaying situation of an authority, such as SEPTA, abandoning the line and failing to take care of an essential component in our transportation network.

Part III - The John Fitch Steamboat

For some time we have been mulling over this question of the John Fitch Steamboat. We have all heard about it since we were kids, but no real information was ever provided as a part of a community effort. This was always baffling to me. So, recently we have been discussing where it was that this phantom steamboat was allegedly tested. We knew that it had to be attached to the stream which runs through Davisville, or at least that is what we thought, and so we came to the conclusion that it must have been in one of the ponds which are in close proximity to that stream.

I heard rumor of a pond which was filled in that had been in the forest area off County Line Road, and being unaware of the pond which sits on the property on the corner of Davisville Road & Street Road (where the Saddle House was moved to years before,) I had concluded that this County Line Pond must have been it.

In our discussions of the Steamboat, I had said that I thought it was unbelievable that Southampton has not taken advantage of this piece of history which, clearly is profound enough that highlighting it, would most certainly benefit the community. We had noted that the Seal of Southampton utilized the Steamboat as a predominating graphic element, so it is obviously important to the community.

Now, those of us who have seen it, know that the Southampton Days Parade is a big event in the township. It is one of the biggest parades in the County, I've seen and participated in parades in Doylestown & New Hope. I've seen the parades in Feasterville and in Bryn Athyn and I am sure Quakertown must have one too.

So that being the case, years ago when I had my last scene shop, I thought I'd like to get into building parade floats and I had designed a float truck. I was about to begin constructing the truck when a potential order came in for four of them. Well that complicated matters and changed my construction methods to accommodate a more standard truck base. That, as well as other circumstances pertaining to supplies and facilities caused the project to be put on hold. But the idea of parade floats has been lingering with numerous designs and applications. The most recent concept in that regard has been the construction of a float that represents the John Fitch Steamboat. With that in mind I have begun some research on the subject.

A visit to the John Fitch Steamboat Museum at Craven Hall was in order. Just as a starting place. This museum is now under construction, as is a full functional scale model of the steamboat. Much was revealed by the conversations that ensued, in particular the location of the pond as being behind the General Davis Inn. In addition to this discovery, I was able to request access to the plans for the model to assist in the construction of a parade float and received an affirmation to that request. But in addition we discovered that there are tentative plans to build a fully functional replica of the steamboat that ran on the Delaware River as a result of the tests conducted in Southampton. We also learned that John Fitch lived off of Centennial Road in Warminster and that they may have discovered the foundation of his workshop on the property.

So there is without a doubt valuable history here on this subject.

This led our discussions to the status of the property on which this pond sits. My involvement with Tamanend Park led me to believe that this property ought to be under the management of the Parks & Recreation Department. As it turns out, that is the case. The property was at one time under the authority of Bucks County and now it is part of Southampton Township & The Parks & Recreation.

Let me say here that The Parks & Recreation Department and Tamenend Park is the one real gem in the crown of Southampton and it is a most honorable and profound thing that the township has done to protect this park and the programs that they are developing for the community. I, any many others, most heartily appreciate their allowing us to construct The Meadow Amphitheatre and work toward creating programs of theatre in the park.

So having discussed this with the Director of Parks & Rec. I obtained permission to explore the property, which I did forthwith. As it turned an employee of the Public Works was there and he showed me around a bit. We discussed the situation regarding the buildings and the property and explored the pond as could best be done.

Clearly, the pond has not been maintained, as there is a relief valve which is apparently not in use. This has resulted in the surrounding area turning into a marsh land, which is actually rather nice and serves well as a sanctuary for bird life. Even though I am certain that the pond was well maintain for most of it's life and in particular, during it's use for testing the steamboat, I do believe that the march land serves a good purpose. I imagined seeing an observation deck and walkway around the march and pond as a way of serving the nature area needs and providing the citizens with a view of this historic pond.

As we stood there looking at the farm house it was clear to us that the large barn located further down on Davisville Road was likely part of the estate that was once the status of this property. Had that been the case, it was most certain that the land owner of the property where John Fitch was known to live, would have been friend with or in contact with the owner of this parcel where the pond is located. I can easily see that when Fitch needed a place to test his boat, he would have traveled the few miles to this pond to do so.

It is so obvious to me that this property is a historic location, both for its construction and it's relation to the history of the steamboat. I am convinced that it is worthy of being placed on the National Trust for Historic Places Registry and I believe that this is an effort which should be pursued by the Township of Southampton, The Parks & Recreation Department, The Historic Review Board and any citizens who may like to assist in this endeavor. This of course, would be the point of my writing this essay.

Should we move forward to construct a full size parade float replica of the John Fitch Steamboat, this would be the perfect location to store the float and make it available for the public to view in close proximity to the pond.

I most certainly feel that With a place on the Historic Registry, adding in all the other factors, there would be funding available for the restoration and maintenance of the property. But this is not the only goal I see for the property.

Part IV- A Performing Arts Centre

As you can see from other posting on this web page, I am involved in theatre and in particular The Shakespeareans of Tamanend Park. Some time ago, I made note that the Polly Wog Farm on Street Road was up for sale. Being involved in and particularly interested in facilities design and management, I imagined this as a fine location for a Performing Arts Center, maybe not the best location, but considering the options in the area, a quite suitable location. Another location I thought was worth considering was the Oscar Huber building on Second Street Pike. It seemed as though that property might be available and I did have a viable plan for parking. Being that it is in the center of town and located in close proximity to the railway station it is quite suitable as a facility that would serve to rejuvenate the center of town. I would note here that I do have my eye on another property ,which I would like to renovate into a small theatre, something I've wanted to build & operate for thirty years.

Now, in regard to a Performing Arts Centre, I am not addressing the issues of budget, management, or practicality in anything other than a cursory fashion here. Rather, I am dealing on conceptual terms, based on what is possible with the spaces that exist. I certainly believe that utilizing adapted spaces is the first entrance-way into an endeavor such as this. Even though I rejected this approach in New Hope years ago. The facility in question at the time was the Union Bag Works, a huge warehouse which posed other problems I was not prepared to deal with.

It is most important to have some idea of what your facility will serve and what kind of audience you can develop before entering into a project such as this. In terms of Southampton alone, there is insufficient audience here to support a large facility such as this. Possibly Doylestown could support such a facility, however, if the property in question were to be constructed and operated to service road shows, and not attempt to produce programming in house, then it would likely succeed. There are sufficient producing organizations in the area that another stage facility could be supported by external programming.

National Road shows have a developed audience and must implement sufficient advertising on their own to aid in their success. This would be an initial aspect to the programming, that would serve the facility well while it is gaining credibility in the region. In addition to that fact, a well & properly equipped facility will be in demand for existing shows.

One of my arguments at the time in New Hope for a new stage facility was that the Valley Forge Music Fair shut down leaving a large hole in regional performance spaces. My current belief is that most of the facilities that are available are attached to the schools systems and are designed to service their needs, not those of the professional touring shows. The fact is that in Bucks County most, if not all of the programs are attached to the schools or community theatre.

There are a few producing organizations with their own facility. The Sellersville Theatre, which does service road shows, cannot accommodate a large musical theatre or multi-set show because it is basically an old Vaudeville house/movie theatre. The Bristol Riverside produces their own material and does bring in material, but the facility is not a four wall. The same can be said for The Bucks County Playhouse. Actor's Net and some others can be considered little theatre and they do a fine job for what they are, but they do cannot service the larger shows or name talent. I cannot say what the fact is with the Philadelphia Race Track and the Slots there, they often do provide those services, but it is not a family oriented environment.

If such a facility were to be constructed what would it be called? It would need to be something that was far reaching and significant enough that it gained recognition in the industry. When I was attempting to design the Key theatre into a performing arts centre in Doylestown, I fancied the name "The Victoria Theatre" not terribly appropriate in this case, but merely an example. The Bucks County Performing Arts Centre seems like it might work, but then that might need to be in Doylestown, since it is the County seat. Southampton Performing Arts Centre? Well, we'll let that be...

Part V- Southampton Arts & Cultural Centre

Returning to the subject of the Steamboat pond and the buildings that are attached to that property. It is currently under the authority and management of the Parks & Recreation Department in Southampton. Discussions have taken place regarding the use of the buildings and more directly, their current condition. Without having seen any inspection or safety reports, it seems most urgent to me that the historic nature of these buildings and the property be secured. Any talk of tearing down this historic farmhouse is appalling to my thinking and I am most certain that Restoration funds could be forth coming with the appropriate designation, at least sufficient for bringing the building up to code and preserve it for the future.

My most immediate vision for this property is that it would serve most wonderfully as an Arts and Cultural Centre, providing meeting rooms, galleries and offices for the work of securing future cultural programming for the region. It is most likely that a festival will be produced that centres around the John Fitch Steam Boat and there are numerous other events both outdoor and indoors which would be well served by this facility. Certainly, the rooms in the building can provide space for art classes and lectures and the outdoor area can be well groomed by a sculpture garden. If, as I mentioned above, an observation deck were to be installed around the pond, with a walking trail thru the woods to the Saddle House Gallery it would provide an eventful day for visitors to the area, particularly if a model of the steamboat were part of that experience.

The upper part of field area could easily provide a small parking lot and additional spaces could be added along the driveway without any undue impairment of the beauty of the property. The building itself could provide offices for an organization such as the Bucks County Arts Council or some other such organization.

Conclusion

I put forth these observations as my way of contributing to the community in which I live and to comment on the things I would like to see happen here as a way of improving the lifestyle in Southampton. I've seen too many communities get swallowed up by the advancements and development of land to the point where they have no identity of specialness. I've been in communities where this has happened to such a degree that I wondered who would ever live there, because it felt like a prison. Thankfully Southampton has not gotten to that point, but I think it is incumbent upon those in control to consider the advantages and resources that are still available and not to let them disappear into the oblivion of uncontrolled urban growth and homogenization. AG

The Alpha & Omega Society

Recent thoughts & occurrences;

I've begun a discussion on Facebook for the Alpha & Omega Society

Here is a link to the
IMS Facebook Discussions

I will continue to post
the more refined conclusions here
and strive to edit this so that it may become a practical guidebook.

4/11;

RE: Membership in The Alpha& Omega Society

With the advancement of Nunc Licet in the Assembly, it is appropriate to make that play, a project of The Alpha & Omega Society. The purpose of The A&O Soc. is being clarified as time progresses and it is clear that Nunc Licet is the type of project which The A&O Soc. is intended to support.. so onward and upward.

There will be a program produced for the presentation being made in Bryn Athyn College (see other postings on Nunc Licet) and with that effort, the sponsorship program for The A&O Soc. will be solidified.  The goal is to fund the production requirements of the play, but it is also intended to bring together the membership of The A&O Soc. and to begin to move forward with the goals that are outlined herein.

As the Managing Director of the A&O Soc. I will be striving to clarify the goals, methodology, and mission statement.  I do expect that the refinement of the organizational structure and the "playbook" will take time and go through a variation of presentation and management styles.  Please bear with this process, but certainly, if you care to be involved, make that fact known.

You will note that in the context of Nunc Licet, I am inviting individuals, business and corporate sponsors to become members and by so doing provide operating funds for the implementation of Nunc Licet. The details of membership and communication with members will be communicated in due time.

I will be looking for a person to oversee Membership communications and other matters pertaining to creating and establishing a Society of active members. Until such time I have to admit that, being dependent upon me, communications will, by the very nature of my limited time, be sporadic.

If you care to be an active and/or sponsoring member, do let that be known.

The information in the archive below do not fully represent the current line of thinking, although much of that information is applicable.

I welcome partners in this endeavor.

Archive

_________________________________________________________

1/10; Unfortunately, or it may turn out to be fortunate, I managed to wash my notebook with all the extensive designs for the Alpha & Omega Society's Community. What that means is that I have to reconfigure them and redraw all the designs.

In one way that is good, because it will force me to lay the designs out in a usable way, which is what I intended to do from the notebook and... which is the reason that the notebook was in my pocket. I had done the drawings in a pocket sized notebook, so I could carry it with me. Let me recommend to you that you do not use a notebook that is small enough to wash by accident.

They were very incredible designs, outlining the community layout, buildings, and use of land. There were many notes about organizational structure, operation and the politics of such a community. I may or may not be able to reconstitute them, but I do think I will be striving to construct a model of the community, much like a train board.

It is unfortunate that that happened, but in order to construct the community we would have needed enough land to fill Montana, so it was not something that was immediately practical.

I do want to publish the designs for the community, if even as a conceptual design, so I will be working to do that and possibly posting those designs here as I do. No promises though. AG


Overall Summary;

Recent discussions about the state of mind which envelops the artist have spurred some thought on the subject. Initially, there was a great deal of passion about establishing the A&O Soc.. The primary intention in this regard has been, and remains, the establishment of a living environment that is designed to support the unique needs of the artistic mentality.

A big part of that, in the long view, is the establishment of The Creative Archive and in that regard, use of the web and in particular the digital environment that it depends on, will certainly be a part of that foundation and seems to be the best starting point. In lieu of actual facilities, the archiving of the artist's work in the digital domain is a viable alternative, to establishing a record of the artist's work. Of course, the work of recording the material is a huge task, but the process of doing that would certainly be a service of IMS and The A&O Soc.

The primary objective at this point in time is to publish the designs for The Alpha & Omega Society. These designs include the outlines for the modus operandi (as it pertains to numerous levels of participation) sketches for the facilities (which extend from a core "Inner Sanctuary" outward in layers to the outermost degree of commercialization), the management notes (which include the politics involved in the governing of the community).

All of this is extremely complicated, and will require, not only a Board of Directors, but a Social Governing Body which would oversee the assorted rules and regulations which must be implemented in an environment such as this. It is not so much a remaking of the existing society and the current Modus Operandi, but rather a realigning of the purposes and a focus on the needs of the Artist, above the needs of other members of the society as a whole.

The purpose of such a realignment lies primarily in the fact that the classic "starving artist" is a result of an increasing disassociation from a social environment, which historically has existed, but is becoming increasingly external and desensitized to the aesthetic environment (or mentality) which the artist is compelled to dwell within.

It is most certianly true that social environments have been created to support the artist, some of which operate quite successfully.

The Alpha & Omega Society is intended to be akin to those Artist Communities, however, the basis for the A&O Soc. are the teachings of The Church of the New Jerusalem and a primary aspect of the community must be the spiritual component and associations of the people involved.

The A&O Soc. is not intended to be based on a generic non-denominational, non-commital spirituality. It is clear that artists, like everyone else are on a path to discover their own spirituality and so that path must be honored and supported. But the clearly stated and specific basis for the A&O Soc. are the teachings of The New Church.

This is not intended to, and does not, exclude persons who are unclear about their path in terms of spirituality, but there is one very clear and definitve critera for participation in the activities of the A&O Soc.. That is a very distinct and undeniable "leading by the Lord" to be associated and involved in the activities of the A&O Soc..

There is not intended to be the exclusion of any religious or spiritually uplifting teachings from The A&O Soc. . Rather all such teachings that have been presented in the world should be included for the purpose of discovering the truth that lies within them. But as so stated, the Teachings of the New Church are to be the foundation for any growth that occurs within the community. This being the case, it should be understood that the point of the community is to foster unity in the understanding and pursuit of Truth, Goodness and to discover the method by which this understanding can be put into application.

A larger purpose of the environment that is conceptualized, is to rediscover the aspects of societies from times past and from locations around the world, that bring forth the best that man has been, is and can become. In this rediscovery, discovery, and conceptualization the foundations of the A&O Soc. are formed. It is the application of these elements into a social environment, that serves the aesthetic enhancement of the artistic experience, but still allows for the artist to live in the lifestyle that best suits his or her mentality... this is for this reason that the Alpha & Omega Society being formed.

A very large part of the community, as needs be in this material world, are the economics of such an environment. In the larger concept of the A&O Soc. the economic behavior of the community is rather socialistic in nature. I know that in America this is a bad word because America is allegedly based on capitalism. But it is the corporate raiders and the greed mongers who have literally destroyed our social environment because of the freedom and propagation of rampant capitalism. In the current environment people are taught and encouraged to grab all they can, while they can at the expense of the "weaker" people in the society or those who are not so aggressive. In my opinion this has been quite destructive to our society and it has in a very large sense shifted our values in a very non-productive direction. I say this with a very different understanding of what is and is not productive.

Productivity is the pursuit of aesthetics & beauty in form and interaction thru art, to seek peace, harmony, truth, goodness, wisdom and love. It is not the creation and acquisition of goods with which one can increase the numbers in ones bank account and therefore permit one to create rampant greed, selfishness, social depravity, isolation and conflict. This is my opinion and it is the basis by which I move forward to conceptualize The Alpha & Omega Society.

I am certain that I will not live to see this manifested, therefore it is my mission to publish the material I have gathered and to proffer my thoughts on the subject as best I can before I depart for the great (un)known.

_____________________________________________________

There have been numerous projects whose seeds are beginning to sprout, which will be nurtured in the environment of Image of the Mind Studios. The organizational structure of the A&O Soc. is being defined and Mission Statement is becoming clearer as discussions are taking place with potential board members.

Numerous requests have come in regarding management of large sums of money for charitable causes and an endowment program is being designed to accommodate this as a service offered by The A&O Soc.. Such a program will also provide operating funds to the foundation and it's programs. Unfortunately I fear that many of these offers are not legiamate.

The management structure of The A&O Soc. is essentially layered to segment essential functions from project functions, which will operate independently from each other. There will be tiers within each segment which will likewise be independently responsible for fulfillment and micro-management of their own resources. The net effect of this is to simplify management and establish more stability in the organization. Of course with this approach, the personnel structure will be defined by smaller teams with more autonomy and of course, the Project Directors & Department Heads will be answerable to the Board of Directors, not so much for their fulfillment, but more so for their adherence to a set of standards, which will maintain the level of integrity that is necessary for the health of the organization as a whole.

Priorities (philosophy)

This was written some time ago and never published. I thought it was interesting.

You will most certianly observe- that:

 the IMS web pages cover a wide array of projects that are in various stages of development. 

    Some have been critical of this and have chosen to respond in a negative fasion. Those persons obviously don't understand the nature of what is being done at IMS. 

    It's good to see the weeds in the garden so you can pull them out. The fact of the matter is that, as the Artistic Director, it is my job to develop ideas and to determine which ones may fit into a long term plan. I've chosen to use the internet as an arena for developing this work, not for any personal engrandizement, but for the simplicity by which other persons may participate in the process, both to assist in the goals of IMS and to share in the enthusiasm as they may find a forum for the expression of their creativity.

      The reality is that I'm lucky if I have another twenty years of useful service left in me. Twenty years is not a long time. So with that reality facing me, I've determined that the best thing I can do is to convert as much viable information about these larger projects onto the the web pages, if for no other reason than to archive them in the event of my demise.

      At this point, there are tangible and somewhat mundane tasks which need to be performed to completion which directly effect the ability to move into active production. These tasks build upon one another to the point where one can turn around and see absolute results, yet in the process, they seem like nothing more than a necessary distraction. I've developed the ability to see the chain of events and anticipate the process & the energy required to achieve a goal. Along with this ability, I've come to expect a certian level of complexity and the inevitable unknown. 

      The contingency fund is gaining increasing volume to meet the inevitable, of course both remain unknown, but non-the-less the unknown factor must be recognized as significant. With an understanding and respect for this unknown, the known factors become clearer and more easily managed.

      Priorities can only be based on known factors but they must be flexible enough to remain intact in the face of the unknown. Their position on the scale of importance is only what changes. The change in position of importance occurs because of multiple factors and the way in which they are compounded upon one another.

      As a project progresses, the level of complexity increases. Certian goals require fulfillment of previous objectives. The goals withing a project are defined with a wide brush and the individual aspects of those goals are gradually expanded as resources & knowledge allow for that to occur. 

      Within a project, indeed within an organization as well, the priorities find their own level. The director of a project will set objective goals and move to achieve those goals, but it must be understood that the unknown factor is so significant that in many ways it controls the outcome of the effort. 

     The secret to endurance on any project is to be flexible enough to be able to respond to that unknown and to have developed enough options where one can shift ones energy to another aspect of the project and continue to move forward, while contending with the unknown that has become a factor needing attention.

      And so, the priorities can be set down as objectives, with the hope and expectation that those goals will be met, but in the larger scheme of things, the fulfillment of those objectives is heavily contingent upon, not only the resources available, but also the sequence of events which can only be anticipated to a certian degree of accuracy. 

The largest factor in the fulfillment of goals is commitment.

AG

Conveyance, an essay

We live in a world that can easily draw us into illusive priorities. Our perspectives are often determined, if not dictated , by the environment we find ourselves in. But is that environment true or false? Do we ever even consider the possibility that the world around us may be an illusion or do we just accept what we see, hear and feel as being the basis for the reality of the world around us? We are told in the Word that the senses are false and cannot be trusted, but what does that really mean?

Well, I've determined that there is a prevailing set of illusions that are being perpetrated upon society as a whole. Not that this insidious act is being orchestrated by any one person, group, or organization, but rather a collection of illusions that insinuates themselves like rust on bare metal with roots that extend outward. We live in a world bound by the laws of entropy and the effects of entropy carry themselves throughout and within the entire created natural world. I see it as a fail-safe or a self destruct mechanisim designed to prevent the decay of the remainder of creation, the Spiritual & Celestial Worlds. The extent of entropy is unknown to me, but I believe it's effects are most significantly manifested in the material world.

None-the-less, this insinuated illusion is amplified in our increasingly complex society, because as more people fall victim of the illusion, it becomes something that is perpetrated upon the bulk of the society. As much as I'd like to define the perpetrators of this illusion, and in fact the illusion and it's assorted attributes, now is not the time to do that, for it would create unnecessary and counter-productive agitation. I rather choose to point out the illusion and state that it's perpetrators cannot hide from the light of Truth. The largest part of the illusion, as it is manifest in human action, is that: adherents to it's principles believe they have the power to control the outcome of events or to dictate the process of reaching an objective outcome.

That being said, I leave this essay on the expectation that: meditating on this concept will bring about an understanding of future concepts, designs, and goals which I have determined to post here for the purpose of contributing to the societies of mankind without joining the ranks of the perpetrators of the illusion.

Being as falable as everyone else on this planet, I can only hope that the desire to break thru the illusion and the effort to do that is sufficient to keep from being perverted by it's stranglehold on the societies of man. I guess this is a large part of the effort and purpose of The Alpha & Omega Society, to form a social structure that disallows the destructive forces which are implanted buy succumbing to and worshiping this illusion. An illusion that belongs to the proprium.

9/19 - I realize how off-the-wall this essay may sound to one who is unable or unwilling to consider what I may be talking about and that is part of the illusion I speak of. In large part, this illusion perpetrates a doctrine of limitation and utilizes a regimented insistence on conformity and a system of reward & punishment to implement that. It is understandable in the context of social management, but it extends beyond that and insinuates itself into the deeper levels of interpersonal relationships whereby it perverts the understanding and distorts the will. It is the erroneous understanding that ascribes the power to act to the faulty human mechanism and the necessity to determine a course of action based on the sensual input that creates this illusion. It is a compounded scenario, whereby human action is dictated by space & time, at least to the degree where an environment is established which nurtures the illusion and propagates it's false principles. Needless to say, the illusion is a multi-facited crystalline form growing within the core of society. Is it somehow an element which must be eradicated? Or is it rather an aspect of external ism which must be revealed, contemplated and viewed from a distance? Thus allowing for a revelation of the true nature of space & time. If space & time are truely understood, how will this effect the presence of the illusion of power & doctrine of limitation. Clearly, the physical, which exists in space & time, experiences entropy and is thereby in the external reality is directly connected to the tangible effects of power. Limitations are felt as a result of the association of the physical and the variations which occurr in abilities as a result. But this is part of the illusion, it attributes external experiences to what should correctly be understood as the internal source of all power and a source of the unlimited. Effectively, the illusion inverts the true order of things to impose carnality into the understanding, thereby distorting the balance in social relationships. Don't let this bizarre train of thought prevent you from exploring other aspects of this blog. AG

Spiritual Retreat

10/17/07- Numerous discussions have taken place with individuals interested in this project. Conversations are of a general nature at this point because The Alpha & Omega Society will be the ultimate authority in this regard, and the Board of Directors has not yet been officially established. As I may have discussed in the section under The A&O Soc., my work is to produce the establishing principles and modus operandi, something which is moving forward rather slowly right now (due in large part to the demands of Image of the Mind Studios). It is my desire for IMS to provide the land for the Spiritual Retreat and once that has been achieved (or is emminent) then to turn it over to The A&O Soc. (or at least a portion thereof). AG


General Summary

A Spiritual Retreat Environment is something that I am striving to create as a means to encourage and support the creative process. My propensity is to work in the theatrical arena and I view this forum as requiring all of the known arts& crafts as part of that process. With that in mind, I fully understand the strain that can come into the artist's life by struggling with his or her environment. As we grow older, we come to terms with this struggle, but by the time we learn how to cope with it, our creativity has suffered to a significant degree. I am in the process of formulating The Alpha & Omega Society. The purpose of the A&O Soc. is to endow and manage the affairs of the Spiritual Retreat and the Theatrical Development Centre. These are but two of the concepts which encompass the design for a larger community. It is my expectation, that like all of us, I will be passing on to the Spiritual World within the next few decades. As of this writing I am pushing 53, I'm in good health, and have no idea as to what my duration will be. But it could be tomorrow for all I know. So it is appropriate to make hay while the sun is shining. With this in mind, I am moving forward to publish the designs for this larger community. I have my doubts about my own ability to manifest this community in my life time, because I am not the kind of aggressive character that seems to be a trait of the developers I know. Rather, I choose to believe that the concept which I am putting forth is something that will manifest as a result of people of like mind, gradually coming together to implement an environment which offers regeneration to those persons who have a high degree of creative impulse and are dissatisfied with the way in which American society has developed as a whole. I do not want to imply that American Society is an adversary in this regard, rather I want to state specifically that the social environment in the greater part of the American Landscape has developed in a somewhat helter skelter fashion. The cities and the suburbs are a composite of individualism bolstered at it's foundation by the capitalistic compulsion to exploit any opportunity or resource for the sake of profit. In large part this has created an overall disjunction in society and a great deal of energy is expended trying to conjoin the social relationships in the face of that gulf which should never have occurred in the first place.

The larger principle in the Spiritual Retreat/Artists Colony concept is the establishment of a community design which functions on the basis of Harmony of the Whole in preference to the rights of the Individual. This is not to say that the rights of the individual are not significant and of extreme importance, but it is to say that they are not paramount. It is clear that the rights of the individual being proffered as having the highest degree of importance have caused a significant degree of contention within society. It is not that those rights are largely put forth as having that degree of importance, rather it is that individuals have taken on the opinion that their right to proceed without consideration for others is acceptable. This attitude is being protected under the misunderstood idea of freedom and the condition within our society is such that we have progressed too far beyond the edge of properly training our young people to counteract that attitude. The media has taken extreme liberties in the name of freedom of speech and Pandora's box has been opened. It is because of this that I feel it is necessary to create an environment that has been laid out Based on the Principles of Harmony.

In addition to the physical design of the facilities of the community, it is necessary to outline the management of the community as a whole. A great many of the principles on which our country was founded are quite applicable for the management of this microcosm, however there are a number of areas where we have gone astray. The objective of this Spiritual Retreat Environment,. The Alpha & Omega Society is to make adjustments based on the obvious errors in the functioning of the society in which we dwell. It is unfortunate that we cannot make those adjustment in a larger way, but the society has become unmanageable due in large part to it extreme size and diversity.

From my position, the objective methodology is for a society to be modeled after the creation. We are now aware of the molecular structure of matter and it is quite clear that the very foundation of the material world is consistent with that form. It seems quite clear to me that the social relationships, or rather the sphere of society needs to be principled on the same basis. It is on this basis that the experiment of The Alpha & Omega Society needs to be founded.

Theoretically, if this were the case, the expansion that would be required, would be modeled after the core structure. Eventually, the foundational structure would reach a harmonious balance of diversity that would not require expenditure of energy on conflict and would then encourage the creative impulse even in the face of entropy. The naturally occurring changes would be within the scope of predetermined boundaries that allow for a certain degree of latitude and thus support not only the feeling of freedom, but the actuality of it, because the modus operendi is that of the Harmony of the Whole and not the proliferation of the proprium, the source of disharmony. More Later AG

Facilities

Opportunity- The opportunity to acquire a workable facility has come and gone. The space was 7k sq ft sitting on 1.5 acre on the Industrial Boulevard. Initially, my thoughts on the Theatrical Development Centre were centred on it's placement in upper/central Pennsylvania as a retreat environment. I still see this picture as the optimal goal, however, after some consideration, this facility and placing the Theatrical Development Centre in a closer proximity to Philadelphia seems like a practical approach at this time.

Effort- This objective must become the primary concern for IMS, as we are sorely in need of a reasonable working facility at this time. The focus of attention is divided between "The Gnomes of New Hope" , The Shakespeareans of Tamanend Park and The Meadow Amphitheare. All other development projects are receiving the minimum attention required to keep them alive until we can establish a new studio compound, so do not expect to see advancement in any other direction. But it may well be expected that with the proper space advancement of the other projects will increase exponetially.

Foundation- I've been having discussions with a few potential board members regarding the establishment criteria for The Alpha & Omega Society Foundation and it seems clear that the aforementioned facility would have made a good headquarters for the Foundation as well as Image of the Mind Studios. Consideration of that facilitiy (or any other facility needs to have a close proximity to The General Church of The New Jerusalem in Bryn Athyn and this is important for various reasons.

I discontinued consideration of the aforementioned facility because it was clear that my role in creative development would be impaired if I essentially became a facilities manager. Also the cost of modifications and aquisition were prohibitive. You might look on the IMS Homepage to find some photo-essays of previous studio compounds. I've had 9 shops thusfar and I'm quite anxious to settle into (what could possibly be) my last studio space.

Aqusition- There does not seem to be an appropriate property in Southampton. However, if that were to be the case, in order to implement the TDC in Southampton I will need to generate a minimum of $1M- 3M for acquisition & renovations, 1M for an endowment to cover the overhead, and 1M+ for investment in standing projects & personnel. Obviously, that is a rounded estimation, but it is sufficient to gain a minimum of 5 years of stability and enough to set the increased cash flow into motion. This would not provide the funding for individual projects, as they would need to raise capital based on specific needs asnd resources inherent in each project. I am assuming that in order to raise this capital I will be needing to sell off the ancillary rights or establish an array of distribution agreements regarding IMS Product lines. Acquisition of these funds through investment is possible but a personal dialogue in this regard is obviously required. I have no intention, nor the ability to borrow this volume of money via conventional banking means. Wether or not this changes in the future, who can say? But it should also be known that I am on the look-out for a CFO.

Resolve- There are management issues which also need to be resolved, mostly from the fact that stepping up into a new level of operation will require it. The operation of Image of the Mind Studios as a proprietorship cannot continue if the growth objectives are to be achieved. The fact of the matter is that expansion is sorely needed and along with that expansion comes a corporate structure and departmentalization.

Expansion- Consideration of this new facility seems like the most practical approach. In large part because renovating the existing space will require less time & energy than building from the ground up in a more remote location. It is likely that marketing this facility would be easier as well. But clearly, I have no intention of moving forward without sufficient resources to give me a good five years of uninterrupted operations and to bring in good people to implement the change required. Meaning to say that all overhead, in addition to facilities aquisition are fully paid for for that period of time. There is the option for a lease on the property, however I am unwilling to stand surety for any overhead that may immediately effect the security of the environment. This means that there must be an endowment that is producing enough income to cover the basic expenses and to create a surplus fund to meet with unexpected facilities maintenance. The principle of this endowment must remain equity of IMS, or be locked in for ten years with all proceeds coming to IMS for that period of time. Of course that would be viewed as an investment, but the return is tied to specific criteria of the Joint Venture Agreement.

Service- The primary goal of The A&O Soc. is to provide a working environment to support artists in their creative endeavors. There are many details about this which I cannot go over now, however, the first and most important aspect of that goal would be fulfilled in micro-cosom in the establishment of this facility and the endowment to maintain it.

Additionally, I have personally had requests that I receive and distribute individuals wealth to numerous Christian causes. Because of this, I have developed the criteria by which contributions can be made to The A&O Soc. and by which individual endowments will be set-up and managed by the Board of Directors. I will be posting this information and linking it to The Alpha & Omega Society's home page. If enough of these endowments are set-up, then the management terms of this agreement will support the Spiritual Retreat Environment, and thus The Theatrical Development Centre. Any income from these endowments will be dedicated to supporting the environment, not staff , stipends, or projects. Those funds will be gathered from other sources.

Updates- I will try to ulitize this forum for updates in activities from time to time. I am trying to manage numerous other pages so there is a plethura of information being posted at erratic intervals. If you have any specific questions or any particular project interests you, do not hesitate to write me. Generally speaking, my energy moves in the direction that has the most immediate & ongoing interest and shows the most promise. This does not mean that because a project sits idle for some time, that it isnot viable, it only means that another project has found other individuals who want to participate in one way or another. I focus on the projects that require attention, for whatever reason.

Information- There are numerous internal demands which must be met. I try to post the kind of informtion that will help in implementing the objectives outlined in the IMS documents posted on the web. Anything posted on the internet refers mostly to external operations with only passing references to internal operations. The only persons privy to internal operations and specific policies are vested partners and/or board members. Persons with an interest in investment should open a dialogue in that regard. Investment in IMS is a private affair, we do not make public offerings, although I expect that that will occur in the future. I have found that it generally takes about two years to develop a relationship of trust and stablitiy. Any one wishing to become involved in IMS activities should assume this fact. This is not to say that trust cannot occur in a shorter period of time, but confidence in that relationship takes time. This time factor also tends to filter out malintent. I just want to make my position clear in this regard. I'm not interested in flash-in-the-pan & hit-and-run tactics and I'm not a fan of "ultrayuppiedom" if you get my drift.

The Gnomes of New Hope: archive

Archive;

1/29/10:

Making the Music Available; I have been exploring this possibility and have come up with another approach to producing the show. I will be thinking this thru here, so bear with me.

A great deal of work has gone into arranging this music to be orchestrally sound (no pun intended) and we are very well satisfied with the finished product. However, the amount of work that has gone into making even this first song ready for release has been huge. As it stands now we have 12-16 songs very well along in their composition and arranging process.

All the music is scored for 16 parts. The simplest reason for this is that we have used MIDI to compose and publish the score and our basic MIDI set-up is limited to 16 channels. Since 16 parts is a fair approximation of a pit orchestra, we thought it best to work within those parameters. I have felt the need for more instruments from time to time, but since we are intentionally limiting ourselves, the songs need to trade off, if there is a particular tone that is required in one piece but not another. I may increase the studio MIDI capability, so that we can settle in at 24 parts, since that is a more accurate approximation of a Pit Orchestra. As it stands now, the music will be presented in an ensemble arrangement and thus our Pit will be comprised as such.

So the thinking is that we will establish a membership program. Members will join for a $25 fee. That fee will gain members access to the "Producers Club", where not only more detailed information about the show will be available, but the music will be made available for download (before it is officially released, as it is being produced song by song), signed original artwork from the publishing plates and animated the film, signed original scores & scripts and an assortment of special edition & prototype products, advance tickets and invitations to special events will all be made available to members only.

There will be different membership categories according to the level of involvement in which a member may want to participate. This program is being implemented as a means to assist in taking this show to Broadway. The members will be the producers. It will be a true collaborative effort.

This is not to say that the conventional production financing structure will not still exist. Depending on the level of membership, members will have access to the contract and management materials by this method.

However, we hope to move this production forward by allowing many partners, assisting by small degrees, to participate. In the conventional methodology this is disallowed. But by membership in the production, without being involved in the management or financing, and offering our member/partners in this endeavor a fair exchange of services (ie: special benefits for membership and reduced pricing for items which are normally sold anyway) we can involve many people in the process, without expecting a few to take on the enormous financial risk involved.

Another benefit of approaching the production this way is that we may be able to present the show with ticket prices that are more manageable, but this is yet to be seen or proven to be possible. I will elaborate on this further in another discussion.

This concept will go a long way to establishing a firm foundation for the production and will serve to reduce the risk of investing for those who are in a position and would like to do so.

We should realize that putting a show of this nature up on Broadway can cost 20 million or more, so getting a good foundation is imperative. If that is the case, then a million members would pay for the show to go up. That's not what I expect, it's only an example (although it would be nice).

Anyone who cares to assist in this process is invited to open a dialogue with me on the subject. I am also posting on Facebook and YouTube, so keep an eye out there too.

Peace, Love, & Wisdom. AG

1/20/10:

Orchestral performance; by the Bryn Athyn Orchestra has been canceled. We have concluded that our focus of attention needs to be on recording the lyrics and assembling an ensemble/pit orchestra for performance purposes. Frankly, the music is very cutting edge and takes a certain "creative mentality" to effectively deliver. That being the case, we have come to an agreement that an ensemble would be the best approach to the music. An ensemble presentation in not possible with the current Bryn Athyn Orchestra program parameters. So it is that we have concluded that it is more important to have our musicians properly set up than to push for a performance at this time.

Over all, some of the parts would be best served, by allowing the greater degree of expression implemented by a single instrument, rather than a section. I am still very interested in pursuing an orchestral presentation, and I am continuing to do that, while Shawn prefers the ensemble presentation and he is pursuing possibilities in that direction. That being the case we had decided to regroup and redirect our energy back to composing of the remainder of the show.

I am currently focused on layout the picture-book publication and we are working on the CD which will accompany that publication. Jency Latta is the artist who created the image of Constable Warren (seen on the Production Approach Summary page) and we expect to employ her to illustrate the books and possibly supervise the animated film.

I am currently sculpting Constable Warren for use in a Claymation test we are planning and the sculpture will also be used for a limited edition collectible. The product utilizes an articulating joint that I invented just for this purpose, which I hope to apply to an action figure toy. Of course the rights to this are available.

11/09;

Orchestral Performance: the performance of music from The Gnomes of New Hope" has been moved to February of 2010, mainly because more instruments will be available for that performance.

Pupperty- we anticipate producing a puppet show at the stage in Tamanend Park as an introductory endeavor in this regard. I expect we will do a few scenes to start with.

Archive;

NOTE: The archive is a Hodge-podge of ideas and thoughts which developed as the effort progressed. Any items in the Archive should not be considered to be policy, although policy may in fact be derived from these thoughts and postings and some of these thoughts do represent policy.

An *asterisk indicates the posting has been edited and is accurate.

* 9/09;

Music/Narrative CD: It was decided to move forward with production of the CD which will contain a narrative of the entire story interspersed with the music from the show. We have begun to record both the narrative and the music down to ADAT.

It is anticipated that the CD will accompany, not only the proposal materials, but also the illustrated story book and the "Gnomeville" play-set (which we have designed and moving forward with building the prototype).

We have constructed a prototype of a 12" stuffed Gnome Doll, which is a copy of my clay 1/4" scale model. I am debating about modeling 3' high puppets from this design also. The main difficulty right now is that the person we employed to create a template from our design, refuses to provide the template, therefore creating copyright issues.

We have been asked to present the puppet show at a hayride. This is an area we are going to pursue. We are also in the process of constructing mechanical puppets, possibly with a future application to a theme park "Gnomeville"?

The theme park concept is also park of the larger plan and we may propose this to other organizations already involved in this arena.

Our present goal in regard to puppets & marionettes is to first produce a puppet show at Tamanend Park followed by the marionette show at Phillips Mill. The marionette show will be recorded as a television special and a DVD release.

This marionette show will effectively satisfy a world premiere in the vicinity of New Hope. Possibly a performance at The McCarter Theatre may satisfy this World Premier also

Needless to say we need to solicit partnership with distributors to address the ancillary markets of the Illustrated Storybook, CDs & DVDs. This will occur when the Music/Narrative CD is completed. Interested parties should inquire.

Musically, we are concentrating on the arrangements for orchestra for the entire first half of the show and making sure the conductors score is correct for a few of the pieces we think are marketable in that arena.

We do believe that a number of the pieces are ready to be marketed as stand alone numbers and are striving to do that in order to set the stage, so-to-speak, for marketing the larger show.

Our MIDI files are being designed in anticipation that they will be used for the marionette & puppet shows as well as the film versions if they are thus needed. We are considering a more extensive concert presentation with a pit orchestra.

In terms of film we are looking at the marionette show, a claymation, CG Animation, standard animation and a live performance. All of these are ancillary markets which will be licensed.

I am seeking representation with inquiries to a number of professional organizations for all of this, as well as the union theatre markets.

2/09;

Music: A meeting with the Bryn Athyn Orchestra has taken place. We have proposed that the first number of the play performed. We also have discussed it breifly with the Bucks County Symphony.

We have also decided that it would be appropriate to release it as a single, preferably through a classical music station.

With that in mind we are moving forward to publish the CD and attempt to get airplay for it.

If the BA Orchestra performs the piece, then the music will be their version of the composition, if not then we will use the midi files we currently have.

Our proposal to the BA Orchestra included them being a partner in this process, in which event, any music distributed would be performed but them. This is not confirmed , although it has been discussed.

We have discussed the material with a number of vocalists, but have not chosen the voice of "Constable Warren" to sing the first song "Never Been So Near". There are approximately 25 songs in this show.

Ancillary Markets: We are developing a line of toys, which include dolls, figurines and marionettes of the Gnome characters. These dolls are taking a number of forms and we've yet to determine which designs will take the lead in a marketing effort. We have very interesting character designs that have come out of the figurines I made for use with the model stage. (I use a model stage to determine the blocking of the show and I constructed little Gnomes for this) The response to these little Gnomes was very surprising and so we are developing a number of items based on these "Little Gnomes of New Hope". We also have character illustrations, which were derived from an effort to begin illustrating the script for book publication and an effort to begin the work of characterization for use with animated film. These illustrations are quite different from the "Little Gnomes of New Hope" and it is, as yet, unclear as to whether or not these illustrations can be used for the figurines. We have yet to locate a sculptor who can convert the illustrations to the smaller format for figurines. Any assistance with this would be most welcomed.

One of the items we are constructing is "Gnomeville". It is a play set based on the set designs and the story. The figurines will go with the play set and the kids can "act out the story" in Gnomeville. Needless to say, a script and the companion CD will be included. We will consider proposals for exclusive licensing on these items as a means of contributing to our production budget for the Broadway show. We intend present those prototype materials in an exhibition which will accompany the premiere of the music. Since we are in development of the prototypes at this time, we will entertain dialogue on manufacturing and distribution at any time. It may be possible for us to produce inventory of these items that can be offered for sale, but it seems unlikely without a partner, because our energies must be focused on the core material, so we invite inquiry in this regard.


NOTE: the information below will gradually be purged of redundancies and moot information. You will note that I am inserting comments in the form of an update to address the difference between what I though was happening and how it really turned out. Essential historical facts will be left in. References to business management items are for general information only.

8/08- The first piece, "Never Been So Near" is completed. (We'll never make this statement again, ha! From now on a piece will not be considered finished until it is performed officially) There are still some formatting items to be done and we are moving to record the lyrics up against the Piano Reduction. After that we will be mixing the lyrics in with the orchestrations and moving to work on the levels and pan. We have decided to work toward finding an orchestra to perform this in their repertoire.

Our next step after completion of some of these small details is to move to the finale. Even though we have numerous songs to work on, we thought the best step would be to do the first & the last pieces, the Alpha & the Omega. I had initially thought that we should have the overture, but since "Never Been So Near" turned out so well, we are anxious to do the finale. The overture should come out of the completed score, so we can integrate elements we haven't even created yet. Our working process is becoming quite refined and now we are attempting to learn a new program, Reason 3.0. We are also moving out of OS9 into OSX with DP4.12. We need our MIDI tracks to be virtual not from a tone generator. So I'm plodding into those deep waters, I hope I can swim thru it.

Update: 2/09 - We have moved to a new level with the implementation and familiarity of the of new MIDI systems mentioned above. A great improvement! The order of our work is not as it was presumed to be, even though we have revisited the finale, other material demands our attention. As such, my work on the story and new lyrics has opened up new dimensions to the piece. I've discovered that the story tends to be slightly altered as the music is created, mainly because I've attempted to deliver more of the primary story information in song and less in dialogue. This fact has tended to compress and refine the material as we go along. Because of this, I have come to realize that any given scene cannot be considered complete until we have finished the music and moved on.

7/08 - Work on has been concentrated on completing the music for The Gnomes. We've gotten deeply into refinement and editing of the MIDI files, to the point where we've decided that what we are doing is really the work of the final product. Meaning that the MIDI files will in fact be able to serve as the orchestra for the productions that cannot afford a pit orchestra. At first we were not thinking about it this way, but as we returned to the beginning of the show and concentrated on the final orchestration of the first piece, we realized that our virtual instrumentation was serving more than just as a composition tool. It is quite clear that an old world composer could barely even attempt to refine the work at the level we are able to with these tools. We've often wondered if we were cheating by having a full orchestra available to us this way, but, hey, you work with what you've got and we're fortunate enough to have these tools, so that's the way it is in today's world.

We are literally days away from finishing the first piece and are now moving into printing out the score and laying down the vocals. The first song is essentially ready for release and it is pretty impressive. We do have nearly a dozen songs sketched out and more lyrics waiting to be married to song. There are 16 scenes in the show and some scenes have more than three songs in them.. So you can see, there is still much to be done

We have come to the conclusion that we will sell the certain rights to the music distribution which would effectively provide us with operating capital and allot us more time to complete the rest of the show. Interested parties should contact me at imagemindag@verizon.net . Keep in mind that there are plans for a Claymation Film and that those rights are also available.

We have updated our systems to include DP4.12 and Reason 3.0, although we have not yet started using those programs. Since the volume of work required for the musical score is so much, other efforts have been put on hold. Models of the sets have been built and backdrop designs are roughed out. Small clay figurine's have been constructed and at some point I will post photos here or on the Home page for the Gnomes .

4/08 This portion of the log was accidentally erased ... The musical content, in terms of lyrics, has expanded, we've determined to tell more of the story with music and less with dialogue. Chorus and dance numbers have increased as well. As the set designs are being completed other aspects of implementation are also being effected. All told, attempting to push forward with production activity without a finalized piece would detract from the resources we have available to us to finish the expanded core material. The model stage, sets, and figurines have been built (although the designs are not completed) and other aspects of the claymation end of things have also been constructed, mostly miniatures for use in blocking the show. I may produce a sample video using these models, strictly for visualization purposes and use in the backers audition or for on-line samples. We have discussed numerous aspects of the puppetry, but again, I am not going to proceed with that until the music is locked in. Most of the melodies for Act I have been completed, with a fair percentage of those songs having a good amount of orchestration done. Those orchestrations are not finalized because the mixes have to be reviewed and we're finding out that until all the melodies are completed we cannot lock in the score for any particular song. Of course this is mostly my opinion, because I want to be sure that the overall balance of the show is right. We have found that we are taking elements of different pieces and integrating them through-out the show in the appropriate places and this creates highlights and reflections, premonitions and reprises. So the compositions have turned out to be more complex then we expected. It is quite process of due consideration to shape the music so that it is inextricably linked to the action of the play and the personality of the characters, yet still stands on it's own without the context of the play. Hints of the Overture are in place and the Finale has been composed, but not orchestrated. We have begun to work on the climax in the second act, mostly because we are working on the lead-in to the climax of the first act, which effectively is the entire seventh scene, the end of the eighth leading into the intermission. The structure of the storyline is mostly fixed, but the back story has elements which will be showing up is song and to some degree in effects which will visually tell that part of the story. It has not yet been determined what elements would be best delivered visually, although we have a pretty good picture of that, but I am still writing lyrics for this. They are somewhat (to a pretty good degree) effected by the preceding compositions and what kind of emotional reaction they inspire, and that helps to determine what the lyrics need to be. So without certain previous musical aspects confirmed the lyrics have to be viewed as mostly sketches until it feels like the right time to determine the melody. When that happens the characters involved may require an alteration of the lyrics, because of the possibility of expanded stage action.

So that's sort of where we stand with the work on The Gnomes. I could go on, but I won't. AG

12/07- We have been concentrating on the orchestration of the music. We are using Digital Performer 3 for this process and have been struggling with the learning curve and computer issues. Most of that is resolved. We had been recording on ADAT and the machine we were using died, so our (recorded) orchestrations are currently trapped on the tapes we used. Repairs are upcoming on that unit. The issues now are becoming familiar with using MIDI effectively.

A production meeting is planned for work on costumes because they are tied directly with the character development and the set design. Portions of the set design will be constructed with cloth and therefore the costuming facility will also supervise the construction of those set pieces.

The focus of attention was on preparing the script for publication as an Illustrated Children's Book with companion CD for the music, but that has changed to gathering the more specific materials for a first class production. I am open to discussions with a Project Manager or Publisher for the book publication, so if anyone is interested, you might want to inquire.

We had planned on going to the stage to videotape the blocking schemes on a few scenes. With the use of an animation program we have the ability to create cell blanks from the videotaped live action. These blanks would be used by the illustrator and by the Claymation artists as guideposts in their work.

Work is proceeding on constructing the characters for use in the Claymation film. In this regard the scale of the dolls will be 3" and those dolls may also serve the Marionette show as well. Initial conversations have taken place with a major toy company and there seems to be interest there.

The concentration on recording and completion of the script is the priority. We have decided to do samples of the music by pulling together some vocalists to do the songs as we complete them. At this point there are 16 songs, but I expect there to be more, because a few of the undeveloped scenes will best be expressed in song. The entire storyline is complete and earlier versions of the script seemed to be finished, but as we have been writing the music, the details in the script have expanded. Much of the back story has been pushed into the second act and some of the major scenes there are no longer resolved. I have a few story lines and need to decide which elements to include and which to leave out or to the audiences imagination (or a future story). So that work has me somewhat tied up.

We will be working to produce an audio tape version of the script, for use in marketing to the upper management team. There has been a producer who expressed his interest in taking this all the way, meaning Broadway. With this in mind, my concentration has to be on providing him with the materials he needs to do the job. I will be serving as an executive producer and I will be looking for a personal assistant or even General Manager candidate, someone who is familiar with budgets, contract negotiations and union rules. The exact management structure will metamorphose out of what I had planned, in order to accommodate a more flexible management style, which, having worked with this producer before, I expect will be required. All ancillary rights will remain with Image of the Mind Studios.

NOTE : 2/09 - Ancillary Rights will be licensed and implemented in accordance with those contracts. The rights are not available for outright purchase (unless the numbers are mind-boggling, up-front, and consider royalties)
In general, there will be three initial levels to the stage production- a Developmental Production (which may fall short of the fully developed production value we seek, a non-union effort) , a Preview Production (which precludes the official opening, may include union personnel) and the Out-of-Town Tryout Production (presented in a major city outside of New York, most likely in a union environment) . I've defined these three levels for contractual purposes and to provide progressive goals, so that the management of the production can be implemented in stages, while the creative process grow into the larger picture. This will assist in a the careful use of resources and to establish a strong foundation for the production.

There are numerous arenas in which this production can be manifested and some of them must be developed simultaneously. My approach to this is to assign Project Managers to these different arenas. Some of these areas may be licensed and some may be produced in-house. This depends upon who it is that steps up to express interest in fulfilling a role. I'm trying to develop a contract structure that allows for this and thus far only a few agreements have been reached, but dialogue is continuing. Keep watch, I'll try to update when I can. AG

10/07- Work on both the script and the music have become a concentrated priority and the magnitude of that work seems to have increased. In evaluating the work we are doing it has become clear that our focus ought to, and will be, on the completion of the first act. Storyline components of the first act are complete (as is a substantial number of the melody lines), whereas more complex issues of the storyline have yet to be satisfactorily resolved in the second act. What this means is that the story has expanded to the point where numerous aspects cannot be expounded upon in the show. There simply isn't enough room in the time-frame to do so. The net effect is that selective references need to be carefully crafted into the second act which tie the basic story together and give sufficient justification for certian actions- without leaving too many unanswered questions. It's nice that there is more story there, but it is (creatively) a difficult task to resolve some of these items.
NOTE: 2/09 - These storyline issues have been resolved. The concluding scene remains undecided between a few choices that are available. It is likely that the last scene of the Marionette show will be moved forward of the Finale.

Therefore, all production activity is moving forward based on the first act and it's completion. The show is designed in such a way as to essentially be two small stories, the first and the second acts. It may be appropriate to add a third act as a way of conclusion, but that will depend upon the overall timing and I tend to want to avoid that in this show, mainly because it's a musical.

Another aspect of pre-production that pertains to this show is my work on the video bench and our in-house film making capabilities. I have numerous films that are demanding attention and I am faced with a rather steep learning curve on the current digital audio & video equipment that is continuing to be upgraded to accomodate multiformat capabilities. One effort is to bring a collection of short films online for exhibition & sales. The success of this effort will directly effect marketing and production "The Gnomes of New Hope". Expect me to discuss this subject elsewhere.

9/07- Refer to Musical Composition for comments on the progress there. I'm very anxious to sell this show. I don't mean sell if off, I mean gather budget funds. There are a number of directions we could go in, but we are limited with regard to resources. One thing I would like to achieve, is to locate a sculptor to supervise the Claymation and the character development. I'm satisfied with Jency Latta's interpretation of the characters (so far) and I'm looking for someone who can turn her 2D drawings into 3D sculptures. I might be possible to use computer generated programs to do this and then to use a CNC sculpting machine, but I don't know how to do that and I'm not sure that is the right approach. But I'm willing to consider that option. The main issue is the interpretation of the characters faces, the rest is relatively easy. You might read my discussions about the Model stage because I expect to use that for a sample film. That would be 1" scale. That doesn't mean that the claymation film needs to be 1" scale, that, I guess will be determined by conversations with the Chief Sculptor. Anyone interested in that job, let me know. In the absence of someone to do that I may attempt it myself.

NOTE: 2/09 - The subjects below will be addressed in another section of the blog. I leave this information intact and will review it at another time. AG

Ancillary Rights- It is very important that we begin to present this project before individuals and organizations who might be interested in purchasing ancillary rights or helping to provide resources in both capital and personnel. All ancillary rights are limited to the definition of the individual project defined in the licensing agreement. No secondary ancillary rights exist in any circumstance and any expansion of manufacturing or distribution requires an additional licensing agreement. I'm not going to discuss contract or investment specifics here. If anyone is interested in these subjects, we can communicate individually via e-mail, phone, and most importantly face to face meetings. Until I can have a secure server in-house, documents of that nature will remain in hard copy.

Agency Representation- I'm looking to confirm representation with an agency. I have a few organizations in mind, but have not progressed too far with that. It is clear that I am too busy to pursue much of the management opportunities that exist with this project. Therefore, agency representation is required for effective marketing and generation of the kind of resources that are required for top notch presentation of this project to the public and full exploitation of those numerous opportunities. I invite dialogue on this subject.

Toys- I've begun dialogue with toy companies regarding the licensing the characters and the storyline. This has not progressed very far yet, so it is still open to allowing for a Marketing Rep or a Product Liaison who may like to take charge of that effort. There is a wide array of products which could be produced and each of them needs to be licensed separately, unless the entire product line is contracted for a substantial portion of the operating budget.
Model Stage- I'm moving slowly with it but, I've begun construction on a model stage. My previous one got destroyed in a move and this one will be integrated into a foot locker to protect it . My intention is to build it to 1" scale. I 'm planning to include rigging and lighting circuits& instruments, as well as traps, borders, legs and a house curtain. This will allow me to hook up my lighting control board and such to emulate a exact stage presentation in miniature. Then all I'll need is miniature people (who work on a miniature budget... know anyone?) This will allow us to produce a sample claymation film/video using an exact to scale legit stage and obviously to also build the sets in miniature. This will be a big help in visualizing the show and determining the materials required for the full scale production. Needless to say this will be a valuable tool for marketing the piece and helping me top produce other shows which are on the boards. If there are any local model makers interested in this, we could produce more than one and sell them to producers, so let me know.

8/07- We have been advancing very nicely with the musical score of "The Gnomes".

Publishing- the script is not moving forward because of the complex of changes that are taking place as we compose the score. I've introduced new elements as a result of our discussions and the requirements of making a well crafted musical presentation. So publishing is best held off until the score is complete.

Illustrations of the script cannot take place at this time for a few reasons, budget being one of those. If a publisher appears who wishes to license the book rights, then we will advance to assemble the illustrated script. Book publication and distribution rights do not include any film or performance rights or any other publishing rights (such as posters, greeting cards, cutouts, or any other 2D or 3D products) To reiterate- All ancillary rights are limited to the definition of the individual project defined in the licensing agreement.

I'm also beginning to feel that, because of the circumstance surrounding the production effort, I need to expand the facilities and set up an internal art department. Otherwise, I will not have full control over shaping the creative material and this would not be good. Design of all materials needs to take place in-house and that means that the expansion needs to be supported by income from the project. I will not function on anticipation. Expansion needs to occurr as a result of absolutes and I will not make committments based on expected performance. This conversation will be continued under the heading of Facilities.

11/06 This is the first BLOG post for The Gnomes of New Hope. The IMS web pages on The Gnomes will be the official forum for updates that are part of the PAS (Production Approach Summary) but this location will allow for dialogue between others interested in the activity. If you are a staff member you are welcome to dialogue here with other interested individuals, but just remember that this is NOT the official forum for business or creative decisions/commitments.

Music Composition;

9/16/07- Our sessions have proven to be most fruitful when we make them long. With changing schedules we missed a few, but now we are working twice a week for between 7 & 10 hours each day. The results are very encouraging. We are building a series of musical statements that are quite distinct from one another and we've reached a methodology that is working quite well. The music is keyed off of the emotional circumstances in the show and obviously the lyrics. It's surprising to me that the bridges have a very strong identity and are linked wonderfully to the primary musical numbers, which of course is what they are supposed to do. But I can see, some of those themes appearing in the overture, prelude, interlude, & postludes in a very significant way. I'm particularly concerned that we avoid trite redundancy, something I've seen in too many musicals.

Older thoughts- We are progressing VERY well with the composition of the score and as we proceed forward in the script we are building a collection of themes for each scene. Some scenes have more than one theme, as sometimes the themes are more connected to the personalities of the Gnomes than they are to the atmosphere of the scene. Of course this varies, as some themes are strictly designed to set the mood for the scene. We find ourselves returning to scenes after we move forward by a few scenes, in order to orchestrate the previous one (if it is required to embellish future work) The atmosphere of the scenes is sometimes built by the orchestration of the previous scenes and the bridges which are built for the scene changes. Sometime there is a bridge and sometimes there is a transition, depending on what the conclusion of one scene is, what the cover requirements are for set changes and what the lead-in turns out to be for the next scene. I am hopeful that I will be able to figure out how to post an MP3 on the Gnomes web page to show the work that has progressed.

I will be needing an Supervising Audio Engineer for the stage production, the claymation film , and the cast album, so if there is anyone interested in discussing this position, please don't hesitate to take the initiative. In fact I am also looking for a Documentary Videographer and a few other Primary Managerial Staff members, particularly Associate Producers for numerous areas of the production.

Maybe I should discuss Associate Producers. I am developing the management structure of the project and my current thinking is to assign different aspects of the production effort to Associate Producers. For instance, the area of Ancillary rights. This would be under the authority and supervision of an Associate Producer. It may involve more than one, in which event there would be a Supervising Associate Producer. There are various degrees of involvement at the producing level. Such involvement is contracted to the specifics because each area of responsibility has the potential for departmentalization (which may or may not occur). I'll discuss these issues further elsewhere.