Virtual Residency Project
*Location One Virtual Residency Project
Call for Submissions
Application Deadline: midnight, April 15, 2009
Dates of Residency: May 15-August 15, 2009
Theme: "Levels of Undo"*
*Invitation to Participate*
Call for submissions for Location One's “Virtual Residency Project 2.0".
Please send your URL or submit electronic materials to
virtualresidency@location1.org .
for more information see: *http://location1.org/virtual-residency-project*
Location One presents its second Virtual Residency Project in the form
of a call to artists and other creative individuals with the purpose of
fostering collaboration and creativity across geographical expanses and
areas of expertise. The goal of this residency is to find two
participants who are not physically proximate but who are willing to
work with someone they've most likely never met before using some form
of non-F2F (face to face) interface such as webcams, email, chat, video,
blogs, telerobotic prostheses, Second Life, MIDI, skype, social
networks, walkie-talkie, snail mail, mental telepathy, radio, networked
video gaming, POTS (plain old telephone service), tin cans on string, or
any other means of collaboration to develop a project that will be
presented at Location One in the Fall of 2009, either on our web space
or in our exhibition space. The theme of this project is "Levels of Undo".
The two participants will also use a blog set up expressly for the
Virtual Residency Project to discuss ideas, possible projects and to
track the progress of the work. The conversation will be public and open
for public comments and will be considered an intrinsic part of the
Virtual Residency.
International applicants are encouraged to apply but knowledge of
English (to communicate with Location One's Virtual Residency liason) is
necessary. The theme can be interpreted as broadly or as literally as
the participants would like, the project will be developed
collaboratively by the two individuals chosen for this residency
project, in conversation with a curatorial advisor at Location One (to
ensure the feasibility of the project and help with practical and
technical questions, not to influence or reject project ideas).
*VRP FAQ*
*What are acceptable forms of submission?*
A website that includes CV and work samples is preferable, but you can
also email electronic materials to virtualresidency@location1.org
by the deadline, April 15, 2009.
Please include a few lines describing why you are interested in a
collaborative virtual residency such as this.
*Who can apply?*
Anyone who thinks the idea of working publicly with a total stranger
about whose selection you have absolutely no say on a theme that is
imposed on you is exciting rather than scary.
*If I applied for the last VRP can I reapply? *
Absolutely, we had many exciting and qualified applicants for the first
residency but we chose the three we thought would make a good team.
*Should I send a project proposal?*
No, project proposals are not necessary, but a few lines describing why
you are interested in this sort of collaboration would be helpful.
*What kind of work should it be?*
The project will be developed wholly by the participants. Location One
will provide curatorial and technical assistance, but the final work
will be created “offsite” or online.The final work may, however, have a
physical manifestation--this will be developed with Location One's
curatorial advisor. Online performance, remote music jam, streaming
video, blogs, flash animations, radio transmissions, podcasts, Second
Life theatre, iChat panel discussions, remote-controlled MIDI robot
kittens acting out the news are all examples of acceptable forms that
the project may take. We are leaving the parameters intentionally broad
in the hopes that it will elicit deeply creative responses to this topic.
*Will there be an exhibition? *
Depending on the nature of the work and the availability of the
exhibition space at Location One, an exhibition is possible. The first
Virtual Residency Project was on exhibit in our gallery space from
September 10-November 15, 2008.
*Is there a stipend for the selected artists? *
Not yet, but we are working on it!
*Why do you call it a "residency" if there is no "place of residence"? *
(nasally falsetto): “Why do you call it a ‘residency’ if there is no
‘place of residence’?”. Come on, aren’t we past that? Isn’t the
“placeness” of cyberspace made real by the presence of a community? Free
your mind.
*What if I do not like my collaborator? *
You should have thought of that before you agreed to all of this.
*Virtual Residency Project*
The first Virtual Residency Project featured three artists from three
different countries: Andy Deck (New York, USA), Susanne Berkenheger
(Berlin, Germany), and Hidenori Watanave (Tokyo, Japan). They
communicated via blog and email and collaborated on an exhibition at
Location One in the Fall of 2008. Titled "Mission Accomplished", it
featured works by each of the artists that can be seen on our website:
http://location1.org/missionaccomplished. The first Virtual Residency
Project was an experiment in virtual collaboration that was meant to
work out the kinks so that the second would run more smoothly. We have not.
*For more information see:
http://www.location1.org/virtual-residency-project
* or contact
Heather Wagner heather@location1.org
26 Greene Street (between Grand and Canal St)
New York NY 10013 - tel. 212.334.3347
Subway: Canal Street stop on N,R,Q,W - 6 - A,C,E
*http://location1.org
*
*LOCATION ONE*
Based in the Soho arts district of New York, Location One is an
independent, non-profit organization dedicated to fostering new forms of
creative expression and cultural exchange through exhibitions,
residencies, performances, public lectures and workshops. Traditionally
focused on technological experimentation and new media, Location One's
residencies and programs have favored social and political discourse and
dialogue, and acted as a catalyst for collaborations. With a unique
environment providing individualized training, support, and guidance to
each artist, as well as exposure for their creations and collaborations,
Location One continues to nurture the spirit of experimentation that it
considers the cornerstone of its mission.
*###*
*MEMBERSHIP**
*Support Location One by joining as a member and get access to special
artist events, performance tickets and fun.
http://location1.org/membership/
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Posted by Gilles Jobin on March 14, 2009 at 12:00am
MASTER IN PERFORMING ARTS PRACTICES AND VISUAL CULTUREMASTER EN PRÁCTICAS ESCENICAS Y CULTURA VISUALcontact:pedrosarmiento@telefonica.netdanza@cenah.es2009.02.09. Master in performing arts practices.doc2009.02.23. Master en práctica escénica y cultura visual.docWe propose this programme affirming the value of the arts practices as research processes. The inclusion of art education in the higher education system in Europe implies the recognition of arts as disciplines which generate knowledge. The objective of this program is to open research spaces for artists, theoreticians and pedagogues, creating an autonomous field of work and research methodologies adequate to the performing arts specificity.The search of specifity is not in conflict with the inscription of these practices in the broader realm of visual (or audiovisual) culture. This inscription justifies the catalogue of theory courses and laboratories as well as the criteria to determine priorities in the complementary workshops. It is our intention to propose a concept of performing practice in dialogue with other dominant forms of communication in the contemporary culture: that’s why we emphasize audiovisual and digital tools. But we also assume the impossibility of separating the artistic practice from other social and discursive practices: that’s why we are interested in cultural studies, community arts and self management projects.The programme will begin with a Research Seminar, which will allow self-evaluation, the submission of previous experiences, definition of training projects etc. Modules coordinators and some of the artists responsible for the laboratories will be present in this seminar.There are three sections:1. Theory and history2. Workshops and tools3. ProjectsThe three sections will run in parallel. Sections 1. and 2. more intensively during the first semester. Section 3. more intensively during second semester.The options in the interior of each section will allow the development of three itineraries:A. Performing arts practice and audiovisual mediaB. Community arts and performing arts pedagogyC. Research in performing artsThe dominant methodology in the first module will be lectures, seminars and discussions. It will provide an extensive overview of the theory and history of the performing arts, as well as an introduction to the current approaches to education, community arts, cultural studies and studies on visual culture.Module 2 is designed to supply tools for the artistic practice as research. All participants should master the basics for networking and the use of audiovisual recording and editing.Module 3 is designed as a space for the development of individual or collective research-artistico pracaticeParticipants wishing to develop creative processes can register in one of the laboratories offered. These laboratories, coordinated by an artist, will be developed throughout the course, with three points of intensive activity in each quarter. Labs will provide a framework for the development of personal projects or for joint work in collaboration, which will be continued when completing the final project of the Masters degree. Artists in charge of Laboratories may invite other experts or artists in accordance with projects proposed or designed by participants.Those participants wishing to develop a theoretical project can follow the permanent research seminar. This seminar will be coordinated by a professor at the Masters degree and it will developed throughout the course, with two points of intense activity in the second and third quarter, which may coincide with the completion of some type of event (conference, seminar with external guests, exchanges with other programs, etc.). Specialized teachers in the areas of interest identified by participants during the first seminar will be invited to this seminar.Total Credits in the catalogue 81 ECTSAt least each student must get: 60 ECTSRESEARCH SEMINARY 1: 3 3José A. Sánchez, Pilar Lacasa, Isabel de NaveránBojana Kunst, Óscar Cornago, Amparo ÉcijaSECTION 1: THEORY AND HISTORY 21 12History of the contemporary performing arts 4,5 (Obl)José A. Sánchez (UCLM), Óscar Cornago (CSIC)Ángel Abuin (USC), Amparo Écija (UCLM)Theories of the body 3 (A, B y C)Marina Garcés (UZ), Christine Greiner (PUC Sao Paolo)Critical approach to the contemporary art practice 3 (A, B and C)Lectures program in collaboration with MNCARS–UAM.Theories and debates on gender, identity and visual culture 4,5 (B and C)In collaboration with UAM-MNCARSJesús Carrillo (UAM), Julio Seoane (UAH)Landry Wilfrid Miampika (UAH), Mercedes Bengoechea (UAH)Gabriel Villota (EH/UPV), Pedro G. Romero (UNIA)Tendences of contemporary aesthetic thought 3 (C)Lectures program in collaboration with MNCARS-UAMSECTION 2: RESEARCH TOOLS 24 12Workshop 1: Body Technics 3 (A y B)Eva López-Crevillén (CSD, Madrid)Muriel Romero (dancer, Madrid),Workshop 2: Audiovisual and digital tools 6 (Obl.)Ingrid Wildi (visual artist,Geneve), Guillermo Navarro (UCLM)José M. Lozano (UAH, Alcalá), Jesús Dominguez (video artist, León)Workshop 3. Performance practice 3 (A y B)Óskar Gómez Mata (theatre director, Geneve)Juan Loriente (actor, Madrid)Performance space: sound and architecture 3 (A y B)Fernando Quesada (architect, Madrid)Pablo Palacio (musician, Madrid)Projects Self Management 3 (A, B y C)Marta Oliveres (artists manager, Barcelona)Paz Santa Cecilia (director of Escena Contemporanea)Pablo Berastegui (director of Matadero, Madrid)Pedagogy of arts 3 (B y C)Pilar Lacasa (Pedagogy Professor, UAH)Eugene van Erven (Univ. De Utrecht)Pedro Sarmiento (musician, UAH)Arts and disability 3 (B)Patricia Ruz (theatre director, Madrid), Mercedes Pacheco (CSD, Madrid)SECTION 3: PROJECTS 36 24Lab 1 (choreography and visual arts) 6 (A)Maria Ribot, coreógrafa – GinebraAmparo Écija (UCLM)Lab 2 (theatre and community arts) 6 (B)Rolf Abderhalden, theatre director, BogotáPilar Lacasa (UAH)Research seminar 2 6 (C)José A. Sánchez (UCLM), Isabel de Naverán (UPV)Bojana Cvejic (writer and professor, Zagreb),Jaime Conde-Salazar (dance critic, Madrid)Individual Project 18 (Obl)Research lines:A. Art practice and research: María Ribot / Isabel de NaveránB. Community Arts: Pilar Lacasa / Patricia Ruz / Pedro SarmientoC. History, theory and critic: José A. Sánchez / Óscar Cornago / Amparo ÉcijaPROGRAMA. OBLIGATORYTitle ECTS Brief descripciónTotal Theory PracticeResearch Seminar 3 1 2 Self-evaluation of the participants in the Masters, valuation of personal trajectories.Exposure of learning methodologies and applied research throughout the program.Definition and discussion of the concept "artistic research process”Historiography and criticism of the contemporary performing arts: analysis and models 4,5 3,4 1,1 Historiographic proposals for the study of the contemporary performing arts. Study of the history of the performing arts practice since the sixties. Theatricality and performativity. Transdisciplin. Regional histories and times of history. Body and visuality. Scene and technology.Trends of contemporary European and non European performance practice.Methodologies for analyzing the event stage.Criticism practiceWorkshop: audiovisual and digital tools 6 0,8 5,2 Introduction to audiovisual language: script, recording, editing. Shooting practices applied to the performance: documentary recording, closed circuits, editing for the performance.Introduction to Internet resources 2.0. Tools for development of creative work in Web and for using the web as an extension of the performance practiceInteractive program proposals for work on stage.Personal project 18 18 Development of a research project in one of the proponed lines: artistic practice, community arts or critical research.It will be an original work, combining practice and theory.B. OPTATIVESTitle ECTS Brief descriptionTotal Theory PracticeTheories of the body 3 2,2 0,8 Multidisciplinary approach to the body as an object of study in contemporary culture as well as a discursive place. Introduction to the theories of philosophy, anthropology, psychoanalysis, science, semiotics, etc...Critical approach to the contemporary performaning practices 3 3 0 State of the theories about the performing arts, exposure of the main methodological approaches, description of facilities and current research groups, analysis of concepts.Models of application of theory to understanding the contemporary sceneTendences of contemporary aesthetic thought 3 3 0 Series of lectures by artists, critics and professors of universities scheduled by the Reina Sofia National Museum and the Master of Visual Culture at the Autonomous University of Madrid.Theories and debates on gender, identity and visual culture 4,5 4 0,5Introduction to the concept of cultural studies. Introduction to gender studies. Introduction to postcolonial Studies.Introduction to the concept of visual culture and exposure of the main approaches to visual studies.Presentation of research projects that apply methodologies of visual studies. Application of this methodologies to the analysis of performing arts projects.Workshop 1: Body Tecnics. 3 0,3 2,7 Learning and training of body tecnics used in dance and theatre work.Discussion about methodologies and aesthetic implications of each of the techniques.Outline of artistic projects after the technical work.Workshop 3: Performance practice 3 0,4 2,6 Performance practice: the actor as Performer, the actor as an artist.Performance space: sound and architecture 3 0,8 2,2 Introduction to the concepts of space in the contemporary scene. The physical space: flows, mobility, energy. Body and architecture. Building the space through sound, movement and presence.Projects self management 3 1,2 1,8 Management of artistic projects: making a project, business issues, relation to administration, funding, visibility, organization.Management of cultural projects, the institutions point of view: cultural venues, festivals, etc..Arts education 3 1,4 1,6 Examples of new educational proposals for artistic practice in the international environment. Pedagogical models adapted to social change: participatory pedagogy, social responsibility, cultural mediation, projects methodology, and so on. Project planning and participation in innovative educational projects concerned.Arts and disability 3 1,4 1,6 Workshop dedicated to the exhibition of art work methodologies with disabled and non-disabled persons. Exposure of concrete experiences on the part of artists. Projects working in relation to the disabled.Lab 1 6 1,4 4,6 Approach to a conceptual framework for the development of an artistic individual or collective work. Led by a one-artist of international renown, will consist of three intensive working sessions, one each quarter, allowing the monitoring of projects in every phase.Lab 2 6 1 5 This lab will take the same approach as above, but will focus on community art practice and will present a project related to a specific group.In the context of the laboratory it will be address the issue of artistic practice as a tool for social transformation. Presentation of reference projects and discussion about its relationship with social, cultural and educational.Seminario de investigación 2 6 1,8 4,2 Academic research methodologies applied to the arts. Artistic methodologies conceived as research processes.Treatment of theoretical and methodological issues related specifically to the concerns raised by participants during Workshop 1 as well as the needs of the individual projects. It includes the organization of workshops, conferences, meetings with artists or with participants in other partners masters programs.Collaboration and exchangesCredits may be validated by following courses or seminars in other programs.Among the institutions that have already expressed interest in collaboration are:1. Casa Encendida, Madrid.2. Festival Escena Contemporánea, Madrid3. Conservatorio Superior de Danza, Madrid4. Museo Nacional Centro de Arte Reina Sofía, Madrid5. Compañía Nacional de Danza6. Redescena (Red de Teatros Públicos de España)7. Matadero, Madrid8. Fundación ONCE, Madrid9. Mecat de les Flors, Barcelona.10. Centro Coreográfico Gallego, A Coruña.
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Call For papers
Special Issue on: "Creativity and Interdisciplinarity – a Discursive Tension?"
Guest Editors:
Dr Sophia Lycouris, Edinburgh College of Art, UK
Dr Mark Wright, University of Edinburgh, UK
on behalf of Research Group CIRCLE (www.eca.ac.uk/circle)
CIRCLE is a group of artists/researchers engaged in Creative Interdisciplinary Research into Collaborative Environments. Its members are staff and research students at Edinburgh College of Art and the University of Edinburgh and include Prof. Simon Biggs, Mariza Dima, Henrik Ekeus, Sue Hawksley, Beverley Hood, Dr. John Lee, Dr. Sophia Lycouris, Vangelis Lympouridis, Ann Marie Shilito, Dr. Chris Speed, Wendy Timmons, Dr. Penny Travlou and Dr. Mark Wright.
For further information about the call, please visit: http://www.inderscience.com/browse/callpaper.php?callID=1159
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“MOVE OUT LOUD” es un proyecto que tiene por finalidad promover la comunicación global a través de la danza y del movimiento. Una coreografía mundial que traspasa fronteras, lenguas, culturas, religiones y diferencias económicas.Funciona utilizando Internet como la herramienta que permite compartir información de una forma rápida y global.http://www.rhiz.eu/artefact-32244-en.html
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Hi Everyone,I am sorry I have not posted for so long. Winter break at Arizona State University happened, during which I took a brief hiatus from Leonard (the wearer was out of town) - once we got back, we were slammed just to get done for the show - blah, blah, blah, I'm sorry. Leonard has been on the fast track to success. Here are some pictures of him:
Leonard and Diane
Leonard and Diane waltzingThe original wearer of Leonard landed a new job, which was really great for him and his career BUT inhibited him from being able to play Leonard for the show. A wonderful woman by the name of Randi Frost agreed to play Leonard. Randi is a dancer, which I think really made Leonard come alive. Shawn is wonderful - don't get me wrong - but he can't break it down the same way Randi can.Here's a picture of Randi in the suit:
That's Randi standing behind one of the dancers in Case Study, Tara Wrobel.We performed Case Study last week with great success (video to be up in the near future). While Leoanard was a GREAT hit in the context of the show, we ran into some problems due to lack of time, so we were not able to use the Miditron Wireless in the show. Leonard works with the Miditron, he makes sound and is very charming; however, because the sounds he made in the context of the show were part of a dialogue, we were not able to modify the sensitivity of the sensors in time to make the conversation seamless enough for performance. Because of this issue, Leonard's sounds were manually triggered by Christopher for the performance. I will go into more detail in future blogs about the issues that we came across.We have a new project nicely titled Monsters that Stjepan, Christopher, Meredith, and I are starting to workshop.
From Left to Right: Meredith Martinez, Jessica Mumford, Christopher Martinez
Just in case you haven't seen him or forgot - here's Stjepan.Leonard will be tweaked and premiered in this project with the interactive sound. Along with getting the sounds to work, we are also planning to add wireless speakers to the costume so that all sounds he makes actually come from the costume itself. I will keep posting as we move to this portion of the project.I have more project specific blogs that I will be posting soon so that you all know exactly what we have been up to and what problems we ran into.
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Baywood, CABaywood, CAMontaña de Oro, CA (Spooner's Cove)Bishop's Peak, San Luis Obispo, CAMorro Bay (Morro Rock), CASan Luis Obispo, CA1.4.2009Wow, I can’t believe I have not written. Life really does fly by. I have been the laziest son well… daughter of a bitch. (That sounds bad... sorry mom.) I mean I’ve been doing a lot… a lot of hanging out. A lot of exercising and be in my optimum dancer body, sans studio and indoor rehearsals... A lot of buying things that I don’t need, then going through my storage unit and keeping everything. I am trying to get rid of some nick-knacks and sentimentalities, but it’s not working. I look at the things I own and think… “Someday, when I have a house, I will put this in it somewhere and use it.” I don’t want to bring anything back to NY because my roommate will just throw it away. I can’t trust him around objects. But I can’t keep all of my things in a vault.Everything has been in storage for almost four years. That’s a long time to be separated from a life that was not quite right--without a thorough visitation. Graduate school was such a dream. Things were set-up and people just did a lot of thinking and made art and worked on papers. It was really hard, I don’t want to make it sound simple or easy… I honestly thought it would lead me to something, like a job. I’m still trying to understand what I gained from my experience there, besides debt. I know. I remember now. One of my crucial decisions in going to school there was because it was close to my grandparents.......I keep asking myself what’s wrong with me? The past 8 months on the road those questions surface… what’s wrong with me? For many years it is easy to blame others for personal or professional misfires, but when one spends so much time alone that question is both surprising and inevitable amidst the bliss of such a trip. The travel. The life. The past 8 months have been the best of my life, which states much. I have traveled in Nepal and hiked in the Himalayas. I have spent three-months living in London and a month in Vienna at a fantastic dance festival. And many other events which could lead to a full anthology of Berkeley, Olympia, Seattle, Portland, Columbus, San Luis Obispo and now New York/Brooklyn/Dominicahassidica.The past months brought me something that I have been missing my whole life, a true connection with this landmass. I was able to see such amazing natural beauty, ponder the people of this land, spend time with Isadora, go wherever I wanted when I wanted, and figure my artistic body and expand my choreographic voice. The independence was exhilarating. In NY I am depressed roughly fifty-probably-sixty percent of the time, while traveling, toward the end, when I was used to seeing new things all the time and could anticipate my encounters, then my depression entered the van. That’s when I stopped blaming anyone else but myself. The depression changed into a puzzle. What did I do? How could I change it? Could I change anything? Do I care? I like the way I am, why would I want to change? I am still pondering these things and wondering if the energy I put into thinking about other people is a personal barrier. Or is it just the way I look? I’ve wondered that too. I’m not pretty, I’m not ugly; although, I know can be beautiful in the right light. My body is not great. Perhaps I’m just so averagewowmid-sentence I fell asleep for 45 minutes. Not very interested in non-existent issues. Many other things to think about, or just sleep. Sleeping is an entirely acceptable place to go when pondering one’s own looks.Onward and outwardMorro Bay (Morro Rock), CAAvila Beach, CASan Luis Obispo, CA... Sunrise... with IsadoraRead more…
FRAMEWORKS is an on-going series in New York, that presents innovative works of choreography for the camera. Submission is rolling and the works are selected by panel based on creative merit and independent of production budget. The next screening will be at:Galapagos Art SpaceDUMBO, BrooklynApril 10th | 8pmTix: $10 (at the door)For more details including submission instructions and program information, please visitframeworksdance.orgThanks,Michael Bodel
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InteractivityParticipationSmartmobs
Dancers and dance companies and PROCESS:
25: Details from Caleb Custer on Vimeo.
DNA-world
http://www.dna-world.net/video/preview-of-rache
WHAT IS GOING ON?What is web 2.0Application Programing Interface API
IMPROV? PROCESS
SIDE LOADING
HORIZONTAL FLOW
PRESENCE/TRACES/MEMORY?
REAL-TIME/TELE-PRESENCE/CO-PRESENCE/
HOW ARE STORIES TOLD NOW?
WHAT IS YOUR STORY?
STORY AND BRANDING?
KNOWLEDGE BASED MARKETING?
NAME AND RECOGNITION?
CONVERSATION?
PLURAL?
TOO MUCH?
CHAOS?
DANCING IN THE CROWD!
TAGS. AGGREGATION. SUGGESTION SYSTEMS
ATTENTION
TARGETS/AUDIENCE/FRIENDS
CHANGES:
SOCIAL
BOTTOM-UP/USER GENERATED CONTENT
DISTRIBUTED
PLATFORM/CONVERGENT
AVAILABLE/AFFORDABLE
OPEN/SHARING!!!!!!!!
DEMOCRATICCREATIVE COMMONSINTERNET ARCHIVES
STEAL THIS FILM
MARKETING VS OPEN PROCESS/JOURNALS/SKETCHESCREATIVE ENGAGEMENTClytemnestra ReMash Challenge
1rs fans Brooklyn MuseumLEAN FORWARD VS LEAN BACK
FORMS AND PLATFORMS:
Blogs?RSSSocial networks
Facebook
My Space
Topical social networks
dance-tech.net
/modern_guest_new.html
Microblogging:
what are you doing right now?
organizations as body
Knowledge based marketing
or just knowledge to engage?
Beyond the gadgets?
What do you think?
REALY
Openness and transparency
SHARE IT!
SOCIAL NETWORK
BENEFITS GIVEN BY ORGANIZATIONS MEMBERS
Individuals and Organizations
Bottom up/Common
Social Innovation
Knowledge Backbone/Interviews
Collaborative Broadcasting
dance-techTV
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http://www.laportabcn.com/laportabcn/FestivalLP09.do?idio=en17 continuous days of programming with over 50 live arts projects that revolve around the body: performances, actions, installations, screenings, meetings and other frontier experiences that explore the notion of play, movement and theatricality.they will be there...Mauricio González, Vera Mantero, Angélica Liddell, Félix Fernández, Juan Navarro / Javier Corcobado, Alejandra Pombo, Teo Baró, Roger Bernat, Ariadna Estalella, Bea Fernández, Aimar Pérez Galí / Ricardo Santana / Guillem Mont de Palol, Cecilia Vallejos, Norberto Llopis, Silvia Sant Funk, João Costa Lima / Cecilia Colacrai, Maria Montseny / Anna Rubirola, Carla Fernández / Olatz de Andrés, Masu Fajardo, deepblue, Paula Caspão / Valentina Desideri, Vincent Dunoyer, Patricia Portela, Olga Mesa, Ivana Müller, Cuqui Jerez ,María Jerez, Juan Domínguez, Montse Penela, Aggtelek, Annika Larsson, Rubén Santiago, Alejandro Vidal, Nicola Unger, Elena Albert, Carmelo Salazar
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Laura Peterson Choreography"Forever"Performed by Christopher Hutchings, Kate Martel, Stephanie Miracle, Laura PetersonDance New Amsterdam, New YorkFebruary 19, 2009by Tom PhillipsCopyright 2009 by Tom Phillips“Modern Dance is Modern Art.” That’s what Laura Peterson tells her dance students, and it’s a teaching she follows rigorously in her company’s new work, “Forever.” This is dance strictly as a visual object, the elements being four dancers in four colors, moving on a white oval floor, among four faux Grecian columns and a mirrored rear wall. The set is vaguely reminiscent of the modernist paintings of Dali or de Chirico, but the dancing itself is even more abstract. Always a minimalist, Peterson makes art by strictly limiting her choices. In "Forever" there’s no emoting, no acting or miming, not even any touching. It’s just snippets of movement, driven by sound. Sometimes together and sometimes apart, the four run around in circles, march, jump, crawl, point, wiggle, spin and fall, roll, twiddle their fingers, bourree on their toes, cave in their chests, sprawl on the floor etc. and end up as they started, running around in circles. What’s going on? Turn the page.“Forever” is minimal, but the title hints at its ambitions. The score by Rob Erickson consists of 26 vocal motifs, an alphabet of “mouth music” looped and layered into short sections that contain elements of language but stop short of words. The choreography gives each section its own motif of repetitive movement – drawn from athletics and everyday life as well as ballet, modern dance, martial arts, and a kind of absurd industrial activity, such as walking around plucking things off invisible shelves. But just as the vocal score stops short of words, the movement stops short of any complete sequence of action. There’s no story at all. Like the first abstract expressionists, Peterson has returned to a pre-narrative world where color, shape and movement regain their original values. It works, because it makes you look again, for example at colors, brilliantly set off by the lighting and the luminous white floor. Peterson herself is in red but it’s not all red; she defies the laws of fashion with a top that’s more like orange.As for movement, watching Christopher Hutchings run, fall, roll, and shake himself off is like watching a good ballplayer do his work on the diamond. Rough and fuzzy around the edges, he’s the opposite pole to Peterson’s focused, driven energy. These two have collaborated for years now, so closely that they can do the same movement in perfect sync, and communicate two different feelings and intentions. Man at work, young woman willing to sacrifice herself to save the world. Peterson sometimes has the inspired, haunted look of Joan of Arc.What? Can an abstract work of art have such lofty intentions? I remember being struck by one explanation proposed for the rise of abstract painting in the early 20th century, that it was a protest against a world that had become too brutal and noxious to engage on its own terms. Consider that just a few years ago, Laura Peterson was a satirist. Her 2005 “Security” was a spoof on our national obsession with tracking each other, performed on hands and knees in insect garb under a bank of surveillance cameras. But satire seems an inadequate response to the world meltdown-in-progress of 2009. Maybe the answer is to retreat into timeless, fundamental categories of perception, to preserve something human amidst the wreckage.Not incidentally, “Forever” is a pleasure to watch. You can take it simply as a kaleidoscope, with the sound score acting as the engine to turn the lens and set off a new series of changes every two minutes or so. The sound is loud and funny, with many references to the rough rhythms of everyday life, such as a repeated “boom – boom WHOMP” that sounds like the old applause machine at Shea Stadium, which is now, not incidentally, a pile of wreckage, replaced by a field named for an insolvent bank.The nice thing about “Forever” is that it can remind you of anything. Besides baseball I was thinking of “Finnegans Wake,” which also has a circular structure, four parts, repetitive themes and snippets of action rather than a narrative. The point of Joyce’s masterwork was that nothing is lost in the great river of civilization, that everything that disappears will rise again. The point of “Forever” could be that when human beings hear sound in rhythm, they have to move, and that’s what makes the river run.“Forever” continues through Sunday February 22 at Dance New Amsterdam.Copyright 2009 by Tom PhillipsPhoto by Elle Chyun
Posted by Doug Fox on February 27, 2009 at 12:56pm
I just posted "'body/traces" Exploring Movement with DIY Lasers and 3D Animation" to Great Dance.New media artist Sophie Kahn and choreographer Lisa Parra are exploring do-it-yourself (DIY) laser scanner technology and stop-motion 3D animation for their video installation "body/traces.In this post, I include other examples of the use of structured light and lasers for stop-motion animations and data visualizations.Best,Doug FoxGreat DanceRead more…
The UK’s National Student Film Festival. Created in 2004 as a platform to showcase student filmmaking talent from around the UK the festival recently enjoyed its fourth year with the 2008 event taking place over the weekend of the 29th February - 2nd March. Screentest will return to The University of Bristol Students’ Union, Bristol on the 6th - 8th March, 2009.Over the course of the weekend the year’s selection of student-made short films was shown alongside a great programme of guest speakers hosting Q & A sessions, talks and workshops. 2008 saw contributions from BAFTA award winner Luis Cook, young director Vicky Jewson as well as workshops hosted by Leopard Films, Jill Raistrick, David Bekkevold, Alex Kirkland and NFTS talent scout Paul Green. Previous years have seen guests such as Director Ken Loach, Actress Emily Watson, Screenwriter David Nicholls, Chairman of BAFTA Duncan Kenworthy, and UK Film Council Chairman Stewart Till.http://www.screentestfest.org.uk/
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Big in Falkirk, Scotland's National Street Arts Festival is back for its 10th year on Saturday 2 and Sunday 3 May 2009.Big in Falkirk 2009 will run from 12pm to 11pm both days.Since its inception in 2000, this award-winning, FREE weekend extravaganza has become one of the largest cultural events in Scotland, attracting over 100,000 people. Located in Falkirk’s stunning 180-acre Callendar Park, the cutting-edge entertainment features a wide variety of spectacular outdoor theatre, pyrotechnic displays, art, comedy and big name music acts alongside activities for all ages.Big in Falkirk showcases the finest, most original outdoor contemporary theatre, whilst also working closely with the best artists in their field and nurturing creativity. Previous festivals have included world premieres such as Walk the Plank’s magical Swan Song. UK premieres have included Groupe F (the company responsible for illuminating the Eiffel Tower during the millennium celebrations), Compagnie Jo Bithume, Plasticiens Volants and Teatre Osmego D’nia.Alongside this, Big in Falkirk presents some of the most popular names in music having previously welcomed Snow Patrol, The Stranglers, Deacon Blue, Bob Geldof and Midge Ure to the music stage. The festival has also managed to secure acts just before they hit the big time, with McFly, Orson and Sandi Thom celebrating Number One singles during or immediately after rocking Big in Falkirk.To become one of Big in Falkirk's friends, visit our MySpace site here.http://www.myspace.com/biginfalkirk
Posted by Brittany on February 26, 2009 at 10:00pm
Check out this link:http://www.sciencedaily.com/releases/2009/02/090225073357.htmI would love to see a reality t.v. show pitting human dancers against robot dancers...oh snap!
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TRENCH is screening athttp://www.movementonscreen.org.uk/moves returns to Manchester and the UK from 23 to 28 April 2009.Now in its 5th year, moves is established as the largest exhibition platform in the UK for experimental short film and new media with a unique focus on movement on screen, exploring new ways of telling stories through films, installations and screen-based works.2008 was the year of music, questioning the interaction of sound and movement on screen; moves09 will be looking at stories beyond movement, exploring the narrative possibilities of movement on screen through screenings, installations, live events, open-source forums…moves is the largest exhibition platform in the UK for experimental short film and new media with a unique focus on movement on screen, exploring new ways of telling stories through films, installations and screen-based works.Wherever you live, you can catch moves:in Manchester and the North West with a 6-day festival exploring movement on screen through screenings, installations, workshops and open-space forums;in the UK on the BBC Big Screens and in selected venues such as Sadler's Wells and Glasgow CCA;worldwide with a year-round tour taking moves' favourites as far as Hungary, Russia and Brazil.
Posted by Doug Fox on February 26, 2009 at 12:36pm
Last September, I wrote a post "Zoetrope: Creating the Illusion of Movement Through Present Times."In a new post that I just wrote, I include more video examples of dance and movement zoetropes:- A video of a traditional zoetrope that feature multiple dance styles.- A promotional video for an Istanbul film festival that features an imaginative take on zoetropes.- An update on the work of dancer and choreographer Chirstinn Whyte and photographer and digital artist Jake Messenger.- The restoration of Bill Brand's 1980 public art work "Masstransiscope" in the New York City Subway. And,- Sony's massive, ten-ton zoetrope, the BRAVIA-drome in Venaria, Italy.If you know of more examples of zoetropes, especially dance related, please let me know about them.Best,Doug FoxGreat DanceRead more…
Baywood, CA
Montaña de Oro, CA (Spooner's Cove)
Bishop's Peak, San Luis Obispo, CA
Morro Bay (Morro Rock), CA
San Luis Obispo, CA1.4.2009Wow, I can’t believe I have not written. Life really does fly by. I have been the laziest son well… daughter of a bitch. (That sounds bad... sorry mom.) I mean I’ve been doing a lot… a lot of hanging out. A lot of exercising and be in my optimum dancer body, sans studio and indoor rehearsals... A lot of buying things that I don’t need, then going through my storage unit and keeping everything. I am trying to get rid of some nick-knacks and sentimentalities, but it’s not working. I look at the things I own and think… “Someday, when I have a house, I will put this in it somewhere and use it.” I don’t want to bring anything back to NY because my roommate will just throw it away. I can’t trust him around objects. But I can’t keep all of my things in a vault.Everything has been in storage for almost four years. That’s a long time to be separated from a life that was not quite right--without a thorough visitation. Graduate school was such a dream. Things were set-up and people just did a lot of thinking and made art and worked on papers. It was really hard, I don’t want to make it sound simple or easy… I honestly thought it would lead me to something, like a job. I’m still trying to understand what I gained from my experience there, besides debt. I know. I remember now. One of my crucial decisions in going to school there was because it was close to my grandparents.......I keep asking myself what’s wrong with me? The past 8 months on the road those questions surface… what’s wrong with me? For many years it is easy to blame others for personal or professional misfires, but when one spends so much time alone that question is both surprising and inevitable amidst the bliss of such a trip. The travel. The life. The past 8 months have been the best of my life, which states much. I have traveled in Nepal and hiked in the Himalayas. I have spent three-months living in London and a month in Vienna at a fantastic dance festival. And many other events which could lead to a full anthology of Berkeley, Olympia, Seattle, Portland, Columbus, San Luis Obispo and now New York/Brooklyn/Dominicahassidica.The past months brought me something that I have been missing my whole life, a true connection with this landmass. I was able to see such amazing natural beauty, ponder the people of this land, spend time with Isadora, go wherever I wanted when I wanted, and figure my artistic body and expand my choreographic voice. The independence was exhilarating. In NY I am depressed roughly fifty-probably-sixty percent of the time, while traveling, toward the end, when I was used to seeing new things all the time and could anticipate my encounters, then my depression entered the van. That’s when I stopped blaming anyone else but myself. The depression changed into a puzzle. What did I do? How could I change it? Could I change anything? Do I care? I like the way I am, why would I want to change? I am still pondering these things and wondering if the energy I put into thinking about other people is a personal barrier. Or is it just the way I look? I’ve wondered that too. I’m not pretty, I’m not ugly; although, I know can be beautiful in the right light. My body is not great. Perhaps I’m just so averagewowmid-sentence I fell asleep for 45 minutes. Not very interested in non-existent issues. Many other things to think about, or just sleep. Sleeping is an entirely acceptable place to go when pondering one’s own looks.Onward and outward
Morro Bay (Morro Rock), CA
Avila Beach, CA
San Luis Obispo, CA... Sunrise... with Isadora
