Since his graduation at Theatre Studies in 1990 Erik Lint has been a lecturer and staff member of this department at the University of Amsterdam. Since then he also worked as a freelancer in the in-between areas of theatre, television, film, new media and internet. He takes part in the dual master dramaturgy, teaches dramaturgy and performance analysis and initiated the joint course Cross Cultural Performance Analysis with Warwick University.
For Theatre Studies he created the educational website www.theaterland.nl. In 2006 he initiated the JISC/SURF streaming theatre project; a distance learning course with Warwick University, and a research project CUEMARK, a functional interface for the creation of an essay tool for performance analysis. At this moment he’s working on his e-learning project i-theatre.net: this Sakai based learning environment includes a streaming video annotation tool that creates a link to the world of video 2.0.
As a director he produced registrations, making-of-documentaries, newsitems, trailers and compilations of performances made for the Arts Channel and the NPS. In his creative work he shows a permanent curiosity into crossing borders with new technologies. The dance film FRA is considered to be the first dance film in the Netherlands using and locking both motion tracking and virtual reality. He has worked with theatre directors like Johan Simons, Ivo van Hove, Gerardjan Rijnders and the choreographers Emio Greco and Nanine Linning for whom he designed video projections, for example for Kruistochten, Opening Night and Cry Love.
Since the first webexperiments with the Digital City (DDS) in Amsterdam and the camcorder revolution he became involved the democratic use of new media and the web. He was the initiator and co-director of the first experimental 24 hours live and interactive television show De Hoeksteen (A’dam) and Pizza-TV (R’dam) using the concept of ‘order by phone, deliver by motorbike, broadcast on the spot’, made by video-amatures for amatures. Lint has also become a pionier in the use of streaming video and webcasting. His interest in the innovative use of the new media became visible in the big-brother performance Ruigoord II; a virtual death for Toneelgroep Amsterdam in 1999 in which 20 guidance and 4 hand-held consumer camera’s were used to generate the live video projection stream. Live capturing technique was used to uploaded these recordings to a website-under-construction, while at the same time this uploading process was simultaniously used for video-projection.