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Host Guest Ghost #2

Posted by Jeannette Ginslov on June 5, 2011 at 8:00am


New Media Artistic Lab 01 Host Guest Ghost #2

16-19 May 2011

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Baiba Krievina with iPad and You Tube video: Digestive System

Photo: Jeannette Ginslov

 

Artistic Lab #1 conceived and facilitated by

Jeannette Ginslov

Short Doccie of HGG #2 Artistic Lab 01 - Intermedia workshop with plates, trays, iPods, iPads, the internet,www.freesound.org/, cameras and projectors! Enjoy!This doccie shot and edited by

Jeannette Ginslov. http://jeannette.ginslov.com/. Video produced by

© Walking Gusto Productions 2011

 

Project: 

A Collaboration with

Skolen for Moderne Dans & Host Guest Ghost

Guest and curator:

Marco Donnarumma
http://marcodonnarumma.com/

Dance students & artistic collaborators
Lene Bonde
Baiba Krevina
Laura Navndrup 
Raymond Roa
Sara Sene da Silva

 

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Laura Navndrup in Live Camera feed and projections

Photo: Lene Bonde

 

Soundscape
Students own with iPads and www.freesound.org/

Video from You Tube: Digestive system

http://youtu.be/Z7xKYNz9AS0

Interactions with iPad

12249513657?profile=originalRaymond Roa with iPad and You Tube video interaction

Photo: Jeannette Ginslov

 

Host Guest Ghost team: 

Producer
Lene Bang
Project assistants
Aline Sanchez Bonne 
Viola Dröse
Danish National School of Theatre 
and Contemporary Dance
Head of Dance Partnership Education
Sheila de Val
Responsible for the Music Accompanist Education
Kim Helweg

 

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Sara Sene da Silva - Trays, Live Camera and projector

Photo: Jeannette Ginslov

© Walking Gusto Productions

2011



 

 

 

 

 

 

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MoveStream 04 CINEDANS & Katrina McPherson Interview Parts 1 & 2

Posted by MoveStream on January 8, 2011 at 10:00pm

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MoveStream 04 - CINEDANS 2010 & Katrina McPherson Interview Parts 1 & 2

 

Shot at the 12th International Festival and Competition for Dance Films and Videos

9-12 December 2010

Amsterdam

 


ScreenMoves from Copenhagen invited me to attend CINEDANS in Amsterdam, December 2010. I was fortunate enough to view dance several documentaries, dance films, dance videos, an interactive installation, panel discussions and meet many screendance makers, curators and producers. 

I was only there for two days but managed to see:  Sidi LarbiCherkaoui: Dreams of Babel,   CINEDANS Camera Rework1, CINEDANS Shorts 3, Dans voor hetleven,  Wayne McGregor: Going Somewhere, Maguy Marin: la danse cachee, CINEDANS DESTINO: A Contemporary Dance Story, CINEDANS Shorts 6, CINEDANS Lock/Larbi/Kahn.


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In the breaks, I managed to shoot some footage in the Foyer and entrance where the filmmakers and audience gathered as well as the resource centre - TV monitors and dvds for those that missed a video or wanted to catch up on a missed video or do some research. CINEDANS 2010 Intro 

 

 

I also shot a panel discussion about fundraising with some key screendance producers,screendance makers and curators, namely: Gitta Wigro, Vicky Bloor, Maia FriisKristensen, Helene Jonsdottir and Janine Dijkmeijer. 

 CINEDANS 2010 Panel Discussion: Fundraising and more

 

Finally had an interview with Katrina McPherson, Sunday 12 Dec 08.30. We talked about her new video dance work “There is a Place” that she shot and directed in collaboration with editor Simon Fildes and dance performer/choreographer Sang Jijia. The work was screened Sat 11Dec, 20.30 under the Screen Choreography section. 

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Katrina McPherson at CINEDANS 2010

Part One of the interview, examines the process of making this video dance work in Scotland and Part Two gives an insight into the Dogme style that McPherson chooses in order to deliver her strong signature that stands out from all other screendance works. She talks about the improvisational shoot and choreography that delivers the strong visceral presence of the dancer Sang Jijia. Mostly, she explains, it is about capturing the moments in the frame, guided by an intuitive drive, developed over the years after many years of experience shooting with prepared storyboards and shot lists. She also shoots with the edit in mind, shooting a variety of different shots that she thinks will edit well together. 

 

McPherson prefers to shoot with an improvisational methodology as the frame is able to capture precious and intimate moments of the "performance", revealing them to the viewer with a camera guided by instinct and intuition. The viewer is then given a viewpoint that they may never have seen without this intuitive camera work.  The improvisational manner of working the camera, the choreography and performer, that takes years to develop, makes the video dance. The video feels alive and in the moment! It makes the video palpable and visceral. The edit then amplifies this with rhythm, pace and timing. The improvisational synergy of all the media: camera, performance, choreography and timeline, produces the unique Goat Media Ltd signature!


I have been trying for several months to do this one and am pleased to have made a long interview in two parts.

MoveStream 04 Part One Interview with Katrina McPherson

MoveStream 04 Part Two Interview with Katrina McPherson 


All Videos shot and edited  by Jeannette Ginslov on a small Sony Handycam. 

Videos Produced & Copyright to © Walking GustoProductions 2010

http://jeannetteginslov.com

 


 

 

 

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Blumenzimmer

Posted by Deirdre Towers on October 20, 2009 at 7:46pm
Dance film BLUMENZIMMER meaning 'Flower Room' in German, depicts a contemporary adult fairytale about a dancer confined to live in a box. In a dilapidated house there lives a small troll-like man that cherishes the moments he opens his box of amber light to reveal the dancer living within the confines of a flower papered box. The protagonist is interrupted by a tall handsome man who arrives to the house to take the box for himself. The handsome man remains in the house while the defeated troll looks on with sadness. From here the relationship evolves between the confined dancer and the handsome man from coy flirtation to animalistic rapture. Here the objectives turn muddled though intrigue remains continuous. With an array of aesthetics BLUMENZIMMER has many artistic and cinematic moments of mastery including the first time we see the troll sitting and cautiously detecting his solidarity carefully opens the glowing box for the first time revealing the golden glow of a rag doll dancer with a glimmering eye of seduction.A film by Sarah Derendinger, choreographed by Teresa Rotemberg BLUMENZIMMER is described as: Maria a tiny woman is guarded by Hermann like a jewel in a decoration box. But Maria dances only at night if it Herman wants. Opening the flower box begins an intimate pas de deux. Tom pleads Maria to jump out of the flower room. Trying to escape the two men Maria is pushed back into her miniature world. But Maria notices the fact that she can walk now simply from the room and can live her new found luck.By Kathryn LuckstoneDance Films Assn.
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MAX Month 1 - An Analogue Style Stequencer

Posted by Kenneth Harte on July 3, 2008 at 9:38pm
Hello,I availed of the fantastic DANCE-TECH.NET promotion and got MAX/MSP/JITTER at the student discount rate of €250... (thank you very much Marlon) - One of the conditions is that I write a blog report of my experiences with MAX/MSP/JITTER at least once a month for 6 months.....So far MAX is cool. I have a reasonable knowledge of MIDI and analogue gear. I have a good knowledge of synthesis in general, I have used other modular software environments like Synthedit and I have a small analogue modular synth. So many of the general concepts involved in MAX are not new to me. The names of the modules themselves can be quite new to me. Words like Borax, Funnel, ZLJoin, Coll don't mean much to me. Words like counter, seq, random, velocity 0... these words are OK for me.Right now I am interested in MAX as a control for my analogue gear, as a way to record and process live audio, and as experimenting box for doing live electronic sound. I am not as interested in building synths. I don't want to build the softsynth to rule them all. The softsynth that is sooo powerful and has soooo many options that nobody really knows how to use it. I just want to make little bits of things that I can use in a live and experimental way. I want to use MAX as just another module in my modular synth.MY FIRST BUILDMy first build is an ANALOGUE STYLE SEQUENCER. It's all done with Multisliders which are variable between 2 and 64 steps, the multisliders repeat the fader positions if I jump from 8 to 16 steps, it sends MIDICLOCK OUT. There are 3 sequencers PITCH/GATE ON-OFF/CV1 - this matches my Kenton Pro-Solo MIDI to CV converter. The sequencers can be independently stepped in 1 of 3 ways - Forward/Backward/Random. Also the faders positions of all 3 sequencers can be independently randomized. All 3 sequencers are MIDI Controllable (up to 16 steps) which matches nicely with my Behringer BCR2000. No filters, envelopes or tones... all that is done on the analogue modular.I learned a lot from building it. One of the things I learned is MAX is very particular when it comes to the flow of numbers. T B F messages are new to me. So it's a little tricky trying to work out the exact order millisecond events have to take. Sometimes I just connect multiple objects without using a trigger message and move them around on the screen to see which position gives me the right output. It's strange hearing the sound change as you move the little object boxes around as if you can hear the numbers calculating away in the background.UGLY MATH vs PRETTY EXPRESSIONRight now I'm very much in the ugly math camp. My patches seem to have lots of - + == < > / and plenty of ???? - I look at the expressions used in some of the patches found on the Cycling 74 forum and wonder where they got them. I can solves the expressions easily. The unfortunate thing is I do not need to solve them (max does that) I need to understand how to formulate expressions. I wish there was a big book that told you how to formulate simple expressions. I get a lot of X ? Y. The ? relates to the function that connects X and Y together. I know X and I know Y but how X becomes Y confuses me. I sit there endlessly dividing and subtracting and multiplying and then I go to the MAX forum and find this incredibly simple expression that does exactly what I want. I look at the expression and it is so simple but I still cannot figure out how they formulated the expression. For me I think it might be ugly maths for a while yet.Anyways that's enough of a rant to justify my first months blog. Month 1 and I finished a randomizable MIDI controllable sequencer that I can use to control my external synth. Not bad....Next month - Live Looping????
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