Flesh Eating Ghouls From Outer Space - 20 Year Anniversary

It was during the early years as an animation student that I learned the significant value of a frame of animation or film. Each and every frame matters and the contents of those frames are what determine your budget and timeframe for completing a film. Finding shortcuts becomes a savings to the production budget.

As of this writing, it is now 20 years ago that the cult classic puppet musical, Flesh Eating Ghouls From Outer Space was originally performed live. This musical puppet show was being toured around Phoenix, Tempe and Mesa to audiences delight and rave reviews. Originally created and performed by Skeleton Puppet Theater for an annual Halloween party, hosted in Sunnyslope, Phoenix Arizona.

Flesh Eating Ghouls From Outer Space - 20 Year Anniversary

The annual Sunnyslope halloween party always included a high level of creative application. Blacklights, illusions and original paintings and sculptures were all included each year. Not to mention, a fun themed dance floor and excellent food, often catered by the Greer's et al. Zelda would reign as the queen of Halloween as a zombified corpse, propped up in her rocking chair in the graveyard. Headstones and cemetery scenes created a deeper sense of connection to the celebration of life that those parties were.

Each year demanded an element of entertainment as musicians, poets and radio DJ's were a small sampling of the talented collective that later became Skeleton Puppet Theater. An annual puppet show was born. With performances of Night of the Living Dead - The Musical, Circus of Death and Louie's Love Zone to name a few.

There was an immediate connection to puppetry for me. As an animation student, I was attempting to pull off stop motion, puppet animation during a time in which animation was taking a more computerized approach. Sitting at a desktop while developing carpal tunnel in order to achieve animation seemed more laborious than posing stop motion puppet armatures frame by frame. When I saw how effective a simple hand puppet could be at telling a story, I was hooked. Especially since it seemed less time was required to get frames to completion. This of course requires advance design and production work regardless. Puppetry presented an opportunity for me to advance my interest in puppet animated forms, by using a real-time animation, now known to me as puppetry.

Originally, I offered to join Skeleton Puppet Theater as a Technical Director to ensure music and technical cues would be prepared and ready for each show. We would practice over each summer to prepare for Halloween. During Circus of Death, there was a disagreement between puppeteers and a fight broke out. Dave Knight was no longer to perform as the beligerent but jovial skeleton with a top hat, Bony Tony. Bony Tony was then offered to me. I recall performing Bony while Dave listened and bantered from the audience. My hopes to do the character justice were confirmed when Dave gave me the "good job". He did say that he thought his was better and I do not disagree. Dave Knight performed Bony Tony like a savage beast with zero shits to give and he was still very funny and relatable!

The stage was enormous. We required several vehicles to transport the stage Pete built. It was unsustainable but we didn't care at the time, we were just excited to be asked to perform at various odd venues in and around the valley. The stage had a lighting console built in and had many components including "wings" to help mask any behind the scenes action.

Skeleton Puppet Theater was a fully functioning, live theater troupe. Imaginology was a full fledged multimedia production company and the timing was perfect for the two to work together to then produce the short film, Flesh Eating Ghouls From Outer Space.

Collaborating with Pete, I designed and fabricated the foam latex and paper mache composite puppets. Although I had the head and the bodies, it wasn't until Pete added glove fingers for dreadlocks and socks for the neck and mouth, that the characters came to life. It should be noted that my aunt Deborah created the capes for the ghouls. Pete later painted some glitter bikini bottoms to finish off the details of the aesthetic.

I was working in the Arizona Heart Institute media production facility VAS at the time. I had made some connections in the industry and befriended Steve Wargo who had a studio in his oversized garage space of his home. We filmed and photographed Flesh Eating Ghouls in his studio over the course of a long weekend.

Filming Flesh Eating Ghouls From Outer Space in Steve Wargo's Studio

While at VAS, I had become the in house author of DVD video titles on the Scanarist DVD authoring system. This is how I was able to create a DVD that would play worldwide on almost any DVD player (a big deal at that time). I authored and funded the 1,000 copies of the Flesh Eating Ghouls From Outer Space DVD's that are now in circulation worldwide.

The team was often testy. Creative differences would present themselves. Opinions about what was good vs. KRAP were often times debated. We were a team of laughing, drunk and stoned idiots who had an idea and some songs to record to make the original concept work. We religiously met on Sunday's. The closer to Halloween it was, the more frequent the Sunday visits. Almost always in Georganne's back yard, although we moved around and often hosted at Captain Mike's.

Our audio visual team was me. Randy would help with sound if he could and Scott Pfister would pitch in for the big shows. I rarely had the equipment needed to properly facilitate a 5 person creative puppetry team. We needed wireless lavalier microphones for each of us, but often shared one or simply used an open mic behind the stage. The stage itself was wooden and did not allow any sound through. We learned this requirement after some early rehearsals. I would beg and borrow from anyone willing to allow us to use their gear. We are appreciative of all our supporters, fans and family over the years...thank you!

At a certain stage however, you must pay people to show up and work for you. Skeleton Puppet Theater rarely ever got paid. Imaginology was spending money on studio time and phtotographers/videographers to bring their eye and equipment to the studio. When you incur financial commitment to a film or media project, you are usually deemed Executive Producer credit. Renting studio space and paying the crew became an Imaginology job and we are proud to do so. 

Live recordings of our early shows exist and are included on the Flesh Eating Ghouls From Outer Space DVD. There are hidden easter eggs on the DVD menu. If you point the cursor at the sun, you will be taken to a submenu of Circus of Death and Louie's Love Zone episodes. These are early efforts we made at capturing the brilliant comedy we had been performing for years on film.

All Skeleton Puppet Theater artists are performers, puppeteers, voice over actors and more. An extremely talented crew, which includes:

Pete DesRosiers - creator, writer, puppeteer, designer and musician. Pete is arguably the most credited for creating and inspiring the puppet shows that became synonymous with Skeleton Puppet Theater. His creative vision and boundless imagination has inspired me for decades and I am a fan and proud friend.

Georgann Prince - Sculpture artist with an eye for fine detail. Georganne creates and paints the many faces, hands and details that are such an enormous appeal and an original vision for puppet design and fabrication. Georganne also paints backdrops creates props and other additional items and details.

Ruth Anne Greer - Costume designer of Skeleton Puppet Theater. Ruth Anne knows her materials and designs her own costumes accordingly. Creating cute designs or solving technical challenges, Ruthy has designed, sewn and fitted all the costumes for Skeleton Puppet Theater and Imaginology productions, including oversized dragon puppets.

Randy Greer - Musician, voice over actor and master puppeteer of all Brock Buttman performances. Randy was also instrumental(pun intended) in composing, recording and producing the musical segments for Flesh Eating Ghouls From Outer Space.

Nathaniel Jack Greene - Animator, Puppeteer, Film Maker, Producer of the short film, Flesh Eating Ghouls From Outer Space and author of this article.

Our production crew was small. Erik Weiland was Director and his brother Max was assistant. Brian Thorsen and I were working together at VAS and Brian had his own Canon camera at the time. I had found Noiko Arai online as a recently experienced Production Assistant. She and Max worked closely to identify production needs as we all stood in to assist wherever needed.

Directing Flesh Eating Ghouls From Outer Space

Not long after the filming, I had injured my back severely and was ordered by the doctor to stay in bed. I had a Dell XPS laptop that I used to maintain websites over the summer. I edited FEGFOS on this laptop all summer long. I created graphics, lower thirds, tickers and other animated segments included in the story.

Upon completion of the film, I submitted it to numerous film festivals around the United States. The film won several awards, including Audience Favorite at the Cincinnatti International Film Festival and Best Short Film at the First Annual Phoenix Fear Film Festival. This award also generated an agreement with Brain Damage Films for Flesh Eating Ghouls From Outer Space to be included on a Best Buy distribution of "Tomb of Terrors" a horror compilation DVD set.

Tomb of Terrors DVD Horror Film Compilation

A new fanbase has been recently developing. YouTube comments are plentiful and review of the film are on-line as a result of FEGFOS being on a DVD compilation. An original production has been developed by Vomit Inducing Media, titled "TOMB OF TERRORS PAID OFF!!! | FLESH EATING GHOULS FROM OUTER SPACE REACTION!!!". An independent production of creative application with unique and disturbing looking characters of their own, this review is put together as a collaborative and fun perspective shift on how to watch a cult classic with friends on-line. We appreciate the effort put into producing this video, Vomit Inducing Media.

Vomit Inducing Media

We have recently created a short concept teaser of what a Return of Flesh Eating Ghouls From Outer Space sequel might look like. We welcome your comments and appreciate your support and involvement. Please reach out to us on social media @imaginology and @ogbonytony.

Return of Flesh Eating Ghouls From Outer Space

The original, live recording of Flesh Eating Ghouls From Outer Space is now available on YouTube and was filmed at Captain Mike's backyard halloween party in 2003.

Please support independent cinema. Thank you for your support!

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Production Culture - Cult of the Black Shirts

(OPEN CURTAINS)

At a very young age in elementary school, I was in the Christmas pageant. I was 5 or 6 years old in first grade maybe. I do not remember too many aspects of the performance. I sang with the rest of the class. But somehow, I had managed to wiggle my way into the coveted position of opening and closing the theater curtains at the beginning and end of the program. It seemed the most important of jobs. I recall the grand scale of the drapes lofted from upon the highest railing you could imagine at that age of epic giants and little people. The ropes seemed large and ascended into the sky into the void at the top of the curtain.

The vast mass of the material was enough to completely annihilate a 6 year old, yet, I was allowed to hold the rope until it was time to pull. The teacher was producer and stage manager of the show and ensured complete discipline in handling the unique opportunity to present a show to the public. The teacher would tell me when to open and close the curtain. I recall the energy and anticipation of the audience as they gazed upon their own shining stars of the show, as I continued to pull the ropes and reveal the magic that awaited all. The awes and laughter then wafted throughout the cafeteria hall where the stage consumed the far end were loud and full of joy.

This continued through middle school with leading roles and in high school, as I continued to work in theater. If you spend over 100 hours in the high school theater department, you are considered a thespian. I double lettered in theater and technical theater production in high school. During this critical time of teenage angst and confusion, I began to identify with the odd culture and characters that haunted the halls and green room's of an ancient tradition. They were unusual thinkers, and actors in the play of high school life. They rarely conformed and the most bold players on the stage were some of the smartest people I had ever met at that time (and maybe since).

It was in high school theater that technical production began to take a firm hold as the lighting consoles, sound mixers and cues were important aspects of the overall production. I was hooked. I worked the art and set construction departments, but found the technical aspects to be of most interest as the Channel 1 network cable TV channel was installed as a pilot program at Apollo High School as part of a national high school news network. I then started editing video on a VHS digital mixing board and would bring the VHS camera recorder we had to our stage rehearsals for behind the scenes journalism and promotion of the current high school stage play. This was my first mashup of theater and video production that would later become my career.

Now, as a Graduate of Animation, Multimedia and Digital Culture studies, Professor of Animation and an independent production technician, I continue to be fascinated by the range of characters, skillsets and aptitudes that make up the production field and profession. I have recently decided to share these insights and aspects.

Creating corporate media productions, means installing and/or operating audio visual production equipment to enable individuals and teams to communicate their message to as many people as they wish to design for. Often times in an entertaining stage production, using powerpoint presentations, stage cues and accompanying audio and video playback cues.

As a production professional, I am given many different assignments to operate a production environment or specific piece/line of equipment to satisfy the client needs and the role of the "technician" for that particular production event or "gig" as we refer.

With a background and degree in animation, I tend to lean towards loading and creating graphics, presentations and keynotes over the years. However, adaptability is key in production technician work and you can easily find yourself in another role as the production demands.

That said however, as a stage performer I understand the significant importance of a script on set. Writing an outline, script or establishing a "show flow" are extremely helpful tools to have guiding the production. Some of the worst experiences as a technician are with productions that do not have a script or a sequence of events written or rehearsed.

All success that comes from a production is most certainly a team effort and helps define a culture of trust and mutual respect for the circumstances of a production. This can have transformative effects for those involved and often builds camaraderie and repore with one's peers.

Over the years, I have taken notes and conducted interviews with production crew members and recorded their thoughts about the nature of "production culture", aka, the "cult of the black shirts".

In addition, and with great generalization, I have recorded the following characteristics as being common amoungst this group of professionals:

Production people often:

- Technically inclined but knowledge is often hyper specialized in a specific area

- Have a rigorous work ethic 

- Can be lazy too - I have literally seen techs fall asleep at the sound board

- Skips lunch/breaks/sacrifices for the show

- Have specific overtime and break schedules 

- Take 15minute breaks at 2.5hours, 1hour meal break @5hours 

- Lunch walk away is different from working lunch/provided meal

- Work 10-12 hour days often

- Team oriented and depend on peer professionalism and cooperation/Culture of community

- Independent by nature of definition “freelancer”

- Non conformist

- Sometimes non-hirable elsewhere either due to attitude, aptitude or specialization

- Wear black behind the stage head to toe so as to not be seen by audience

- Eccentric music and film tastes

- Some can be arrogant or challenging about their technical acumen 

- Don’t conform to 9-5 working hours and repetitive office tasks

- Range from young kids (greens) to senior producers

- Have an identifiable language and terms specific to functions of job: ie. Stingers, Edison, Tritap, Barrels, doghouse, Gaff, DA, cage, wedges, fold back, teaser, dress, sticks, tops, DI, etc.

- Have many acronyms, including DMX, XLR, BNC, SDI, NDI, DI, DSM, DSUB, DUC etc.

- Carry large cases, specialized tools and/or wear large backpacks full of adapters, cables and tools

- Live by the clock - timers and runtime

- Spend money on new technology often

- Some are heavy smokers and/or vape

- Full of disaster story's and/or highlights

- Most are self employed entrepreneurs with little to no health benefits

- Might be on the spectrum or might have OCD, Autism, Aspbergers etc.

Productions often require numerous technicians to setup, install, operate and strike (remove). The positions can be varied and often have overlap with other similar positions that might not be hired for the "gig".

Some of the positions of the individuals might include:

Rigging

Stage

- hands

- scenic

Video

- projectionist 

- V1

- V2

- camera operator

- playback

- led walls

- robocam (PTZ) operator

- records

Audio

- A1

- A2

Lighting

- L1

- L2

Graphics (GFX)

Teleprompter

Translation

Transcription

Zoom/Streaming Engineer

Photographer

Videographer

Room technicians 

Field technicians

Breakout techs

IT/Networking

Director

Art director

PM project manager

Stage manager

(TD) Technical Director

Producer

Executive Producer 

and more....

As freelance artists, many production people are also involved in music production and recording as well as video and film projects. It is not uncommon for your audio engineer (A1) to also be a musician, current or former for example. It is also quite common for production technicians to work on series development. A series of event productions, seminars or summits are examples of corporate series development. In some cases a show or production is so successful, it inspires additional programs to be developed and the team to be reassembled for additional future dates. This is often considered a good thing for independent producers, as it establishes a consistent event schedule and repeat business.

Some individuals are comfortable working with clients and interacting with other people. Some technicians however, are most comfortable behind the scenes and not interacting as much with the clients. This distinction is important to know as either corporate presentable vs behind the scenes stage hands are hired. General session (GS) technicians are considered specialists at working directly with the show and often times have more client interactions as a result.

Many (but not all) technicians are formally trained. Although it is not a requirement, often times technicians were trained in film, theater, sound or recording engineering programs. Skills learned through experience vs formal education are numerous. As a formally trained technician, I can honestly say I have learned as much in the field as I have in the classroom about production technology. The hands-on nature of working a production is an additional enhancement to any formal training program and are often required hours for media programs.

The business of media production is reputation critical. Satisfying your client and demonstrating competency is the standard by which you set for yourself and those around you as you implement the production for your client. If your client is unsatisfied with your performance or the equipment, it is your ass on the line. In addition, those who are working with you are at additional risk for scrutiny as the standard is set by the lowest common denominator of competence. In other words, your reputation and future work depends on your being on-time and on point. That said, production technicians tend to be open and willing to share their experience and knowledge when the time comes for someone to help. This helps create a culture of learning and teaching.

Each production has its own dynamics that are specific to only that show. However, the process of load-in and setup, then testing and rehearsal, followed by showtime and strike is most commonplace.

Operation is conducted after all equipment has been setup, installed and tested as working. It is common however, for equipment to be added or replaced as needed throughout the gig as technology fails, technicians see opportunity for improvement or if glitches occur.

Cut, Strike and reload trucks. Some productions will include a strike crew that comes in at the end of a show and starts to remove or uninstall and box or crate equipment for load out. Equipment is then staged and prepared for loading into trucks. These efforts often require additional stagehands and requires the operators of the gig to contribute to the packing and load out of equipment.

Overall appreciation for the industry seems prevalent. Discontentment comes with overworked or underpaid individuals. Progression through the industry can sometimes be difficult for those behind the scenes or without confidence in their abilities.

Work conditions can be varied and often requires high pressure performance. Clients will sometimes test a technician's abilities or make requests beyond the scope of normal production standards. Last moment requests and changes can create difficult situations wherein changes cannot be made without disrupting the show.

Work is seasonal and has great demand during the first and fourth quarters in Arizona. While other parts of the country might see an increase in business over the summer, production work appears to taper off during the hot summer months in Phoenix. Certain sports seasons not accounted for, however as certain individuals work racetracks or summer concerts, much of the corporate work seems to wane as executives take summer holiday's with the family. This makes the industry highly adaptable for technicians who needs summers off for their own family's or to simply enjoy some holiday time. This seasonality can present challenges to technicians income however and must be properly accounted for in order to survive through the lean times of less work labor and income. In addition, the thirty day receivables means invoices sent after a gig is completed will not be paid for a full month and requires additional planning to properly budget.

In conclusion, the production culture and industry is diverse and professional. It is notable however, the general ratio of men to women in the business of production is heavily skewed towards males by 90%/10% in my experience. This ratio is slowly changing as women enter the field, however there is a long way to go in terms of equal representation of women as professional production personel. Perhaps it's the nerd factor that production technicians exude that is a turn off for some women? I have met numerous highly professional women in a multitude of roles from crew to director and have been nothing but impressed by those currently representing non-males in the professional production field. 

Much of what else can be said about this industry should be reported in a future post or conversation with others from the industry. Please reach out if you feel we missed an area of interest or accuracy.

(CLOSE CURTAINS)

Written by: Nathaniel Jack Greene

Contributing agents:

- Doug Guevara

- Justin Hoernschemeyer

- Kevin Bryles

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Imaginology Game Design, Animation and Puppet Commercial Production Promo Reel

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Bony Tony and Stephen Jenkinson Discuss The Future of Now and Speaking With Children About Death

A very special episode of The Afterlife With Bony Tony.

After a short hiatus, Bony Tony is back with more of what you love. Death, taxes and grief...right!? Yer killin' me! Yer killin' me!!

Bony Tony has been hard at work establishing a better understanding of how this generation of humans cope with their mortality. Although 2020 was especially challenging for many humans, Bony was there for you and even hosted a Halloween Experience to help our friends work through the some of the anxiety, pain and anguish that the year provided.

Although 2021 has been a small step forward in the global condition, we are still experiencing what Stephen Jenkinson would refer to as "plague times". The man is what few can carry as a title of "grief walker". An individual dedicated to the realities and impending fate of all humans, that is so easily pushed aside or considered taboo to talk about. AKA Bony Tony's favorite topic.

Stephen is a worker, author, storyteller, culture activist, and founder of Orphan Wisdom, a teaching house for skills of deep living and making human culture that are mandatory in endangered, endangering times.

Bony was fortunate to catch Mr. Jenkinson at his teaching house Orphan Wisdom in Ontario for a cup of tea and to wax the word realistic with the man who speaks Bony Tony's language of death, dying and grief processing.

More information at: https://orphanwisdom.com

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Celebrating 25 Years of Imagination Technology at Imaginology

 

 

 

To celebrate Imaginology's 25 year anniversary of friends, faces, fun and imagination technology, we compiled the best clips from this last year, opening the new studio and peppered in a few surprises form our legacy.

Thank you for working with Imaginology to improve the human condition. We see you! The world sees you!

Imagination is the ultimate technology.

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Commissions and Inquiries: nathang@imaginology.com / 602-510-3563
Original Music: @lux.kiddo - Broncos Epic on the Cityscapes album 2020

#animation #puppetry #commercials #virtualfestival #livestreaming #characterstudio #videoproduction #characterdesign #artdirector #creativedirector #experiencedesign  #imaginology #imaginationtechnology #storymakers #narrative #digitalculture #asudigitalculture #legacy #improvethehumancondition

Opening a Virtual Streaming Studio - The First Year

In reflecting on a successful year of building a production studio during a pandemic, the items that come to mind are numerous and extensive. I will continue to share throughout this year as Imaginology turns 25 years of age in 2021, but I have outlined some top thoughts and insights gleaned from the last year of preparing for business.

Having dreams of a dedicated studio or physical location for decades and finally achieving this vision during a year of pandemic complications, economic disruption and political chaos somehow seems impossibly appropriate for the dualistic nature of the universe. In difficulty, comes opportunity. In chaos, comes order. In failure, comes success. In the form of lessons and long-term commitment. True are these things, especially if we validate that nothing is more powerful than an idea whose time has come, when combined with fortune favoring the prepared.

Although envisioning and intention work was undoubtedly required, it was only a small fraction of the complex formula and sacrifice required to advance a vision from mental exercise to action and implementation. The vision for an Imaginology studio is several decades in development and did not instantly appear. Thinking back to it's origins, Imaginology has always demanded a dedicated space and has had a handful of small offices and cubicles over the years. At it's most homey, Imaginology was installed into the garage of my home. Once your company has taken over your basement den and displaced your vehicles in the garage for the space required to complete production projects, it is clearly time to make the mighty move to establish a physical production studio location. (insert divorce, loss of home, bankruptcy, depression and a near death experience and you have a few more of the required ingredients for success, perhaps).

Family and friends - the secret sauce. Many individuals have committed to facilitate, support and enable Imaginology projects and productions over the years. The cost to create independent productions is a small fortune and the Imaginology community has paid dearly over the years and deserves any and all rewards, returns and recognition for their contributions that they reasonably request or require. It has always been an Imaginology belief that the individual has unlimited potential. Working with Imaginology leverages the individuals experience working with the brand and organization and enhances their experience in life in various ways and by experience design and the Imaginology CurriculumTM. The possibility and perhaps viability of an Imaginology studio exists as a direct result of the family and friends associated with and sometimes barreled over by the existence of a vision whose time has come. As Founding Director, it has been my personal responsibility to ensure the continued success and growth of Imaginology. Sometimes, just a simple association with me, results in a commitment to the organization, as I have fully dedicated my life's work to "improve the human condition" and therefore have pre-existing conditions associated with maintaining personal and intimate relationships. Separating work from self seems disconnected or disingenuous when attempting to accomplish projects and productions with precision, clarity and fidelity. Ultimately however, I Nathaniel Jack Greene, work for my kids. They will ultimately be the success or failure of me and have sacrificed the most. They should then withhold the majority stake in any future endeavors. They should both be included in our film productions as they are both incredibly beautiful and talented people inside and out.

Failure - the inevitable teacher. Undeniably, I have failed in my career as Chief Imaginologist and Founder. I have failed to meet the commitments required to grow the business as the potential demands. I have failed to expand internationally as the organization has needed. I have failed to fund projects and productions with the resources that would ensure global distribution or visibility and sometimes commercial success. I have failed to scream loud enough for help when I really, truly needed it and have also been just too stubborn to ask for the help that does not require screaming. I have failed to write or communicate about my failures as I am now. I have failed to maintain relationships for which the organization may have further benefitted from or been of benfit to. I have failed to cash in short term, for the prize inside at the bottom of the box. I have failed in my intimate relationships and loves. I have failed my family and I have failed myself. These acknowledgements of failure help inform success and are not acknowledged as a form of disappointment, rather, the hard, real-world truths of a business in the process of becoming and developing beyond the constraints of these failures. Acknowledging shortcomings helps to inform future decisions and success.

Humor - the essence of the human existence. Yes, it is ALL funny. Even in the most painful way. To have humor in the darkest hour is what the soul demands to survive during crisis. To chuckle at the imperfection of everything reminds you of just how human we all truly are. With a global pandemic at hand, America on fire and uncertainty being the new operating system, humor may be the antidote to the depressive nature of social politics that predominate the American psyche if not the global psyche. Funny thing is, we are now entering a new era of politics in America. Arguably, one of new direction and energy.

Advancements - The advancements we have made with Imaginology over 25 years are priceless and may only ever be counted by future generations. This is now by design, as we intend to extend the vision for an improved human condition into the next millenia as is increasingly necessary. Imaginology Foundation 2021-3030. Imaginology.org.

In conclusion, there is no conclusion. The process continues. Failures. Success. Hard work. Humor. Family and Friends. Those who have taken a strong stand with the mission to improve the human condition will continue to flourish as we establish the next generation of Imaginologists. Please contact me directly if you feel a gravity to our cause or wish to leverage our shared vision. We are seeking present and future Imaginologists now.

"Imagination is the ultimate technology."

Nathaniel Jack Greene
Founding Chief Imaginologist
nathang@imaginology.com

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Imaginology Virtual Festival Creators

Imaginology, virtual festival creators. Imaginology creates original characters, stories animation, puppets, effects and memorable brand experiences. Affordable, virtual, courteous. Worldwide since 1996!

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Bony Tony Returns from Bikini Bones

 

 

 

Bony Tony finishes his drink while waiting for the crew to call. On leaving The Bikini Lounge, Bony Tony sets his hat down takes a quick leak on Grand ArtHaus and heads back to Imaginology studio with the expectation that the crew will be prepared for his arrival this time.

The Afterlife Experience with Bony Tony is an original program as part of Puppetry with Purpose, an original program at Imaginology studio in Phoenix, AZ, designed to improve the human condition through animated puppetry, transformational art experiences and character development programs.

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#laughterismedicine #funny #original #characters #puppet #show #webisodes #halloween #experience #afterlife #bony #tony #bonytony #bonehead #imaginology #comedy #writing #puppetry #art #culture #programs #family #performanceanimation #live #streaming #virtual #performance #animation #puppet #rig #live #streaming #video #cartoon #characterstudio #characters #monsters #creatures #special #specialeffects #afterlife #bony #tony #bonytony #imaginology #comedy #writing #puppetry #art #culture #programs #family #existential #phoenixanimationstudio #phoenixproductioncompany #arizonaartist #artworkshops #improvethehumancondition

Intro - The Afterlife Experience with Bony Tony, Holiday Special

The Afterlife Experience with Bony Tony, show opening sequence. Bony Tony arrives on set and starts the show as Zombey has crash landed face first into Bony Tony's coffin, desk. Quickly excusing himself, Bony Tony heads off to the bar across the street as the crew is left to clean up the mess and prepare for Bony Tony's return.

The Afterlife Experience with Bony Tony is an original program as part of Puppetry with Purpose, an original program at Imaginology studio in Phoenix, AZ, designed to improve the human condition through animated puppetry, transformational art experiences and character development programs.

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More info at https://imaginology.com

Facebook https://facebook.com/ogimaginology

Instagram https://instagram.com/imaginology

TikTok https://tiktok.com/@imaginology

PREMIERE - The Afterlife Experience with Bony Tony, Holiday Special 2020

It is with great pleasure and excitement that Imaginology announces "The Afterlife Experience with Bony Tony, Holiday Special, 2020 Video Premiere, scheduled for Saturday, December 26, 2020. Streaming live on Facebook at https://fb.me/e/Zvtzsidb.

 

Please join us as for a very special evening as Bony Tony hosts the first annual, Afterlife Experience with Bony Tony Holiday Special. A live, interactive animated showcase of artists and talent. Featuring all your favorite, original characters, stories and locations in the worst parts of Phoenix and of course hosted by the dead guy voted to look least like Santa... @ogbonytony Bony Tony!

 

Featuring special guest artists, puppets, cartoons, performers, puppets, prizes and so much more. Live, from Imaginology studio.

 

What else do you have to do Christmas weekend!? It's not like you can go out dancing, you Bonehead! Get with the program and join everyone's favorite dead guy for freaky fun, laughs and quarantine hygiene lessons.

 

*masks not required to view video program on Facebook.

 

Yer killin' me! Yer killin me!!

 

 

Thanks to our community partners

@budsongrand

@chachastealounge

@feed.phoenix

Road Dogs Show Pros

@imaginology

 

The Afterlife Experience is an original concept as part of “Puppetry with Purpose” at Imaginology studio. Designed to facilitate grief processing and healing through use of character and performance art.

More info at https://imaginology.com

Facebook https://facebook.com/ogimaginology

Instagram https://instagram.com/imaginology

TikTok https://tiktok.com/@imaginology

Juxtaposition

Summer, AD two thousand and twenty years. Phoenix. Maricopa County. Arizona. The United States of America. Earth. 

Bothered and cautious is the feeling of the Chief Imaginologist.  

Global human condition = unhealthy. 

Cautiously optimistic and eternally grateful for the love shared and interest in Imaginology studio. 

A space dedicated to the development of our mission: to improve the human condition.

After 25 years of trial, triumph, failure, sacrifice, bloody, sweat, and a few too many tears, Imaginology has a new future. Beyond prior space limitations and constraints. A home for our continued creative development and community collaboration. 

Bring the future on. Humans are preparing for a new condition. One of health, prosperity, and natural order with justice. 

2020 has presented a too complex dichotomy of states, however. Polar opposition. Extremes. A moment in humanity never before observed or experienced by so many.

Juxtaposition is defined as two things being seen or placed close together with contrasting effect. 

As an animator, I am seeking the spectrum of energy that often is expressed in a given moment. Juxtaposition can be a beautiful aesthetic when opposing natures combine and become harmonious.

Opening a studio during social distancing, quarantines, stay at home orders, and limited interactions with humans; Juxtaposed by the desire for human connectivity, touch, time, and shared expression. Demanding virtual chats, video conferences, and assistance across the digital "Threshold". 

Being out of work, juxtaposed with so much work to do. 

Installing Phoenix, Arizona's first live, animation studio for performance and human expression through characterized form; Juxtaposed by the dissonance and fears for health and safety in a global pandemic, socio-economic climate. 

The tragedy of this global virus affects humanity; Juxtaposed by the will to improve the human condition. To assist others with telling their story. Sharing this moment in time. This cultural paradigm shift. The clash of positives and negatives. The inability to define all contexts into a black or white box. 

Unrest in many forms. Social. Political. Psychological. 

This unnerving inability to see a middle way; Juxtaposed by the opportunity to acknowledge the unpredictability of now. 

Fear of disease, government, foreigners, and your neighbors; Juxtaposed by the courage to cooperate and engage in the local community of action.

Independence, juxtaposed by lockdowns.

Dualism suggests that every negative consequence or action has an equal and opposite reaction, just as Newton's third law of physics proves.

Humans suffer; therefore, we must thrive.

In difficulty, we must triumph.

With destruction comes creation.

                                                                         - Nathaniel Jack Greene - Chief Imaginologist