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Important talk by Howard Rheingold watch here
Update on 'Corporeal Computing' event at University of Surrey (September 2-3, Ivy Arts Centre University of Surrey, Guildford0
Deadline extension for conference papers/ performances/ publication contributions (May 8th, 2013)
Confirmed presenters:
Paul Kaiser (Openeneded Group), will be showing 'After Ghostcatching' in 3D
Thomas Calvert (CEO Credo Interactive)
Kirk Woolford (University of Sussex)
Mark Coniglio (Troika Ranch)
Nic Sandiland (Middlesex University)
To submit an abstract, or for more information, please visit:
http://www.ias.surrey.ac.uk/workshops/corpcom/
Nick
Motion Bank Workshop No. 5 on “Writing Dance” under the direction of Jonathan Burrows, Matteo Fargion and Adrian Heathfield will commence in just a few days. From April 16 to 18, participants will come together at Frankfurt LAB to focus on discussion leading to practical work. Emphasis will be towards investigating choreographic and compositional processes, and experimental writing and scoring practices, questioning how a dance can be made and what it can communicate to the audience.
As part of the workshop, a Motion Bank Salon will take place once again. We therefore cordially invite you to join Adrian Heathfield on April 17 at 6 p.m. when he presents the film “Writing Not Yet Thought,” in which he and French author Hélène Cixous discuss the practice of writing as it relates to the genres of fiction, essays and poetry and its relationship to painting, music and philosophy.
Admission is free.
For more information, please visit www.motionbank.org
In addition, we would like to make you aware of one of our main events in 2013: as part of the 2013 Dance Congress, which will be held from June 6 to 9 in Düsseldorf, Motion Bank will be presenting the digital score based on Deborah Hay’s choreography “No Time To Fly.” Motion Bank and the Forsythe Company will also be conducting several workshops and talks at the event.
More information on the Dance Congress program is available at www.tanzkongress.de
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TROIKA RANCH LIVE-I WORKSHOP 2013 THE MACHINE IS NOT SPECIAL In days of old, a computer was an object of awe that had to be handled with great care lest it fail. Today, the computer is just a variation on a wrench or Swiss Army Knife: it’s a household tool used to fix something, to make something, to bash something, to locate something, to tighten something. It is a means to an end that can be wielded wildly.
That’s why this year’s workshop is expressly designed for physical performers – anyone whose primary expressive means is through the action of the body. Our idea is to use computer technology and algorithmic thinking to inspire new ways of devising and organizing movement, a network of digital constraints within which we want you to become a whirling dervish.
To that end, each morning begins with a two-hour movement exercise designed to closely mimic – in physical terms – the technological process that will be explored later that same day. In the afternoon, you’ll learn how make a technological implementation of that physical process in the software Isadora®. Everyone will end up with a very similar structural framework – a tiny “engine” of interaction.
Then, both individually and as a group, we will rigorously explore several questions: how does this technological system inform, dictate, change my movement choices? What conflicts do I feel between my body’s desire and the imposition of the system? Can I, or should I, subvert it?
Each day we will inject these interaction-engines with “fresh fuel”: new visual and aural material, altered action, rigorous rearranging, tender touches, and dramatic destruction.
By the end of the workshop you will have discovered the computer as a tool of intervention in your movement process, will have gained a bit of technical know-how, and – most importantly – will leave with a greater understanding of how digital systems can lead you to surprising compositional outcomes.
When: July 15 – 19, 2013 Time: 10:00AM – 4:00PM, Monday through Friday Where: Studio 2, 810 SE Belmont Street, Portland, OR 97214 Fee: $750 (Includes a one-year license for Isadora) Application Deadline: May 7, 2013 Notification of Acceptance: No later than May 17, 2013 Non-Refundable Deposit Deadline: $250 Due by May 31, 2013. NOTE: Troika Ranch requires a minimum of 6 confirmed participants in order to hold the workshop. If less then 6 deposits are received by May 31, 2013, the workshop may be cancelled. Cancellation would be announced by June 3, 2013. |
Moving Without A Body
Digital Philosophy and Choreographic Thoughts
By Stamatia Portanova
Overview
Digital technologies offer the possibility of capturing, storing, and manipulating movement, abstracting it from the body and transforming it into numerical information. In Moving without a Body, Stamatia Portanova considers what really happens when the physicality of movement is translated into a numerical code by a technological system. Drawing on the radical empiricism of Gilles Deleuze and Alfred North Whitehead, she argues that this does not amount to a technical assessment of software’s capacity to record motion but requires a philosophical rethinking of what movement itself is, or can become.
Discussing the development of different audiovisual tools and the shift from analog to digital, she focuses on some choreographic realizations of this evolution, including works by Loie Fuller and Merce Cunningham. Throughout, Portanova considers these technologies and dances as ways to think—rather than just perform or perceive—movement. She distinguishes the choreographic thought from the performance: a body performs a movement, and a mind thinks or choreographs a dance. Similarly, she sees the move from analog to digital as a shift in conception rather than simply in technical realization. Analyzing choreographic technologies for their capacity to redesign the way movement is thought, Moving without a Body offers an ambitiously conceived reflection on the ontological implications of the encounter between movement and technological systems.
Stamatia Portanova choreographs technology, media, dance, and philosophy together to make a brilliant, multilayered account of contemporary culture and the changes and possibilities brought by the floods of computation. This is a book full of sensual abstraction and lucid, rigorous bodies: an inspiration!”
—Matthew Fuller, David Gee Reader in Digital Media, Digital Culture Unit, Centre for Cultural Studies, Goldsmiths, University of London
“Moving without a Body is a book about choreography, and about the use of digital technologies in contemporary dance. But beyond this, the book also offers a deeply original discussion of the relations between body and mind, between analog and digital, and between the fluidity of the organic and the algorithmic complexity of software. These pairs of terms should not be seen as opposites; for Stamatia Portanova demonstrates the fertile creativity that arises from their intertwining.”
—Steven Shaviro, DeRoy Professor of English, Wayne State University; author of Without Critiera: Kant, Whitehead, Deleuze, and Aesthetics
“In the increasingly rich literature exploring the intersections between contemporary dance and philosophy, Stamatia Portanova’s Moving without a Body stands out as a true achievement. Investigating the digital as metaphor of thought, Portanova shows how choreography is not only concerned with the creation of artistic works, or with the implementation of training techniques, but reveals itself to be also, and importantly, an ‘abstractive perspective’ that forces us into thought—as Deleuze would say.”
—André Lepecki, Associate Professor, Department of Performance Studies, New York University
APRIL 9 -10 / Spain Cultural Center of Santiago
CUERPO ++
BODY-TECHNOLOGY WORKSHOP
"Dias de Danza Festival"
Oral Memories |
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The Ministry of Education, Culture and Sport of Spain is pleased to announce the launch of Oral Memories: a Web platform for the promotion and launching of emerging and mid-career Spanish artists, nationally and internationally. |
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APRESENTAÇÃO
A obra feita por Carolina Cony Auto Retrato foi um trabalho de conclusão da disciplina Dança e Multimídia da Faculdade Angel Vianna realizado em 2007. Já foi exibido durante o Festival Internacional de Videodança – Dança em Foco, na II Mostra Internacional de Videodança de São Carlos, assim como, na Mostra Independente do Audiovisual Universitário. Em 2008 recebeu destaque do Premio Internacional de Videodanza, em Barcelona.
DESENVOLVIMENTO
O vídeo como o nome já diz, explora a ideia do autorretrato, ou seja, é uma obra que mostra como o artista se vê. Usando uma técnica de animação chamada stopmotion, revela um olhar voltado sobre si mesmo, reflexivo. Permite que o artista faça um exercício de descoberta e/ou aceitação de si mesmo já que este pode gostar ou não daquilo que vê ou tentar transformar a imagem que de si encontrou. Neste sentido, Cony usa como artifício para o auto retrato, uma câmera e um pequeno espelho que reflete pedaços de seu corpo numa perspectiva de revelação e ocultação; e de proximidade e de distanciamento. São diversos recortes na tentativa de revelar um 'eu' através das imagens fragmentadas, isto é, a autora exibe partes de seu corpo no intuito de apontar um reconhecimento de si mesma e a descoberta de sua identidade. Nesse momento é possível observar que ela vai de encontro com a ideia de que o autorretrato é feito através de imagens do rosto. Aqui ela mostra que a identidade dela está ligada ao corpo também.
Em relação a linguagem usada em Auto Retrato, um aspecto importante é o movimento do espelho. Nesse caso, o objeto desliza pelo quadro dando uma ideia de deslocamento não só da pessoa refletida como também da própria cena em si. Ao criar um videodança Andreia Bardawill afirma que:
o foco de interesse na construção de um pensamento sobre a relação corpo-imagem é a composição e o que gira em torno dela, em particular aspectos que possam contribuir para uma construção poética, sobretudo as relações possíveis entre a composição cênica e a composição da imagem. (BARDAWILL, 2007, p.131)
Assim, é possível afirmar que na construção do corpo-imagem de Auto Retrato não é somente o corpo e seus movimentos que formam a poética da obra. O deslocamento do espelho pela cena reforça algumas ideias e até mesmo gera outros sentidos e significações ao vídeo. É um movimento dentro do movimento. O espelho caminha pelo espaço da cena, se aproxima e se distancia ganhando a conotação de um olhar de fora sobre a artista. Um olhar do espectador sobre o corpo, sobre a identidade da autora estabelecendo uma relação de dialogo e interferência com esse autorretrato.
“A identidade é resultante da relação com o outro mediada pela sociedade” (HALL, 1997). Essa citação de Hall (apud MATOS, 2000, p. 76) ilustra a forma como a ideia de identidade é abordada na obra. Carolina Cony faz o autorretrato, com as percepções de si mesma, escolhendo o que quer externar entretanto a partir do momento em que esse olhar se constitui neste vídeodança passa a ter uma relação direta com o olhar do outro, ou seja, a identidade do sujeito é permeada também pela visão que o outro tem sobre ele. No caso de Auto Retrato, a concepção que Cony tem sobre si mesma sofre interferência do olhar de fora, do olhar do espectador.
Sobre identidade, Georges Vigarello afirma que é “a manifestação, pelo corpo, de uma interiorização ou de um pertencimento que designa o sujeito” (VIGARELLO, 2003, p.21). Essa ideia corrobora com a citação de Evgen Bavcar: “nos olhamos sempre com o olhar do outro mesmo que seja aquele do espelho” (apud BARDAWILL, 2007, P. 131). Neste sentido, o que Cony traz em seu trabalho é um olhar de descoberta e de transformação ao em observar e registrar cada movimento que faz.
É válido comentar ainda sobre a simplicidade dos recursos usados e a maneira como os elementos se organizam para compor a cena. Há um fundo verde, bem iluminado, no qual se centraliza o espelho portátil que, antagonicamente, reflete uma cena mais escura: uma inversão da luminosidade entre o objeto principal e o fundo. Já o efeito stopmotion dá uma dinâmica maior ao vídeo que, fazendo uma relação com a câmera, reforça a ideia de fugacidade e transitoriedade de cada instante registrado. Essa dinâmica também se relaciona bem com a trilha sonora encerrando um clima de tensão e estranhamento que chega ao auge no meio da obra.
FICHA CATALOGRÁFICA:
Videodança: Auto Retrato
Direção:Carolina Cony
Fotografia :Alice Ripoll e Carolina Cony
Edição:Samuel Rodrigues
Música: Excellent' Mr Renfield (Philip Glass)
Link do vídeo:
On line seminars on Water-wheel.net LIVE NOW
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Shown in the UK for the first time, Charles Atlas's video installation MC9 (2012) brings together filmed footage that spans the forty-year collaboration between Atlas and acclaimed dancer and choreographer Merce Cunningham. |
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http://www.tate.org.uk/whats-on/tanks-tate-modern/eventseries/bmw-tate-live-charles-atlas-and-collaborators
The William Forsythe Improvisation Technologies video series offers a fresh perspective on movement, improvisation and the intersections of dance and technology. The videos can best be described as an introduction to improvisation for dummies (beginners). Even as a non-beginner it is helpful to review the movement tools and techniques from the video with the useful and helpful graphics that clearly illustrate the techniques and objectives. Sometimes in classes it can be difficult to determine exactly what someone is doing movement wise and the movement can be mistaken for not having any clear objective, however these videos provide an alternative perspective.
At the moment I am unsure how these videos influence my own work concerning technology but I was reminded of how simple choreography and movement generation can be. Sometimes I think it is necessary to reminded of the basics.
Looking for TWO DANCERS - to accompany my performative lecture presentation
on April 20, 2013, between 3:30 and 5pm on the panel of ‘Tempo and Tactics’ to be presented at the Conference of the Congress on Research in Dance "Tactical Bodies: The Choreography of Non-Dancing Subjects".
Conference Location: UCLA, Glorya Kaufman Hall - April 19–21, 2013
In my lecture I will reference the choreography of L. Chétouane’s ‘Sacré Sacre du Printemps’, its intentions and relation to contemporary theories of philosophy and physics. In cooperation with my theory based performance, that regards speech and dance in this case as complementary, I am looking for two trainees who perform simultaneously movements that follow the parameters that are drawn from Chétouane’s “space measuring” choreography.
Please note this is not a recreation of the former work but a transformation and improvisation of its movement type onto the actual situation of presentation.
The method, visual material and possible rehearsal can be discussed via email/skype or in person a few days ahead of the event.
This commission involves:
- Performance: about 20 to 30 min on April 20th, scheduled to be between 3:30 - 5pm.
- Advanced meeting plus rehearsal some days ahead (according to dancer’s schedule)
- Honorarium.
Those interested, can be provided with some online video material to get an idea. Though I will arrive in L.A. a few days early to the conference, I would plan to be in contact before, for discussion, setting up working meeting and possible rehearsal.
If you are interested please contact me as early as possible at: mojaeckel@gmail.com
The solos that I watched were a demonstration of how shapes, lines, and writing influence his work. The movement was very quick and it was hard to see the shapes within all the movement, so having it demonstrated through the editing was helpful. In the Uploaded videos, he explained how writing with the body is one method to displace one's self in choreography, and the video demonstrated in white what he was writing, and he showed two different ways of completing the movement. One traveled far, and one only moved a short distance, but both of these involved enough manipulation of the body that it seemed not like a choice to travel but a necessity to keep balance.
The second video was much about creating shapes from an internal place versus an outer place. He demonstrated "Drawing" a circle from the outside, and used white lines and circles to show that although the finger drew a circle, the arm created a cone. When he demonstrated drawing a circle from a more internal, center place, the white edited lines showed that the resulting shape was a cylinder. He used technology to distinguish between the two, because it may not have been clear otherwise.
The third video spoke about the use of lines and in order to create a line, you need two points. He went through a series of movements to demonstrate different potential for lines and used the white lines in the editing to make it clear what he was doing.
These are all abstract concepts, and the use of technology helped clarify what he was talking about since he was moving much to fast to really see the individual shapes. This is a great way to create movement for future choreography, and proved that the method doesn't have to be clear for it to be effective movement.
Would like to know whether anyone in Dance-Tech.net has a network to recommend for getting videos into high schools. Please let me know.
Also, has anyone had any luck getting into the network for LETS MOVE, Michelle Obama's campaign. One would think this network would be a natural for dance filmmakers!! As you know, it's difficult to move one short film, but making a compilation that targets the same audience, with a similar effort to motivate children to move and discover their endorphins would be welcomed. Lets work together to make this happen!!
Please see my latest parkour/animation film, LOCO MOTION, my first attempt to appeal to a young age group, specifically young, urban, and poor. Still is of Joey Arato, shot in Brooklyn with Nadia Lesy and Ted Ciesielski.
Duali
Suguru GOTO
Suguru Goto (Artistic Direction, Concept, Music, Programming, BodySuit Development)
Shu Okuno (BodySuit II Performance, Choreography, Dance)
Chiharu Otake (BodySuit I Performance, Dance)
Special Thanks to TranSonic Festival, Center for Art and Technology, TNUA
© Suguru Goto, 2013
suguru.goto.free.fr
About Cinedans
Cinedans – Dance on Screen Festival is unique – in the Netherlands and in the world. The central focus of the festival is on dance film. Cinedans sees the ideal dance film as a true synthesis between the two media of dance and cinematography. At Cinedans the emphasis lies on choreographies created specifically for the camera and on special film adaptations of existing dance performances.
The festival also features a selection of special documentaries and retrospectives. Approximately 70 films from all over the world will be screened at this year’s festival. In addition to the film programme, Cinedans festival organises readings, panels and presents installations throughout the EYE.
In the ever-changing media landscape, creators are increasingly seeking different ways to tell their stories. New media and modern technology have entered the scene bringing new possibilities and insights. Dance film is no longer ‘movement on the black screen’, with new forms being developed such as installations, video clips, interactive projects and more. Contemporary dance films are often autonomous art works with a language of their own and an expressiveness that cannot be pigeonholed. Cinedans closely follows these movements. In addition to the film programme, the festival focuses on various forms of crossover projects and media installations that involve movement.
Cinedans also organises Cinedans on Tour, travelling all over the world to screen selections from its film programme. Workshops and lectures for professionals are often part of the touring programme.
Cinedans is an annual festival that takes place in Amsterdam.
http://cinedans.nl/
Watch two excellent excepts from the documentary Artists in Exile: A Story of Dance in San Francisco. This clip highlights Contraband, a highly physical multidisciplinary dance company active in the Bay Area from the 1980′s -1990′s.
This excerpt from the feature documentary, Artists in Exile: A Story of Dance in San Francisco, highlights Contraband, a highly physical, multidisciplinary dance company active in the Bay Area from the 1980s -1990s. Artists in Exile was produced and directed by Austin Forbord and Shelley Trott of Rapt Productions and also features Bay Area dance artists Anna Halprin, Tumbleweed, Mangrove, Dance Brigade/Wallflower Order, Margaret Jenkins, Joe Goode, and ODC Dance.
InShadow Festival welcomes works in the genres videodance, documentary, performance (solos) and
installation, running for a total of 9 awards attributed by 6 juries. 5th InShadow - International
Festival of Video, Performance and Technologies runs from 29th November to 7th December
2013 at São Luiz Teatro Municipal and other theatres, museums, galleries and other venues in Lisbon.
Check here the call forentries and find how to submit your work.
Submission is FREE OF CHARGE!
We're looking forward to receive your works :)
InShadow Festival is on Facebook.
Join us and spread the word!
A little token - last edition's spot here.
Both WDA members and non-members are invited to submit proposals for presenting dance works in performance, presenting scholarly research, holding a panel discussion, conducting a class, or leading choreographic labs.
With Evolve + Involve: Dance as a Moving Question… as the focal point of the event, WDA-A encourages broad investigations into the following questions: How is dance evolving in the 21st century? How are we as artists, educators, and researchers engaged with these emerging developments? With whom and how will we be involved as new practices emerge? How might these new engagements and involvements open further questions for dance’s future? With these questions in mind, we urge participants to propose new possibilities for the many different modes of presenting, experiencing, producing, and teaching dance. Proposals need not be limited to or by the Conference and Festival’s theme, which should be considered as a catalyst for discussion rather than a restraint.
World Dance Alliance – Americas (WDA-A) is delighted to announce our 2013 Conference and Festival will be held July 29 – August 4, 2013 at the Scotiabank Dance Centre in beautiful Vancouver, BC, Canada. This event is hosted by WDA-A in conjunction with the 2013 Dance Critics Association Conference with support from Texas Woman’s University Department of Dance, University of Wisconsin-Madison Dance Department, and the Dance Centre.
For more information or to submit a proposal, visit: www.wda-americas.net/conference
