Trilogy's video is now on vimeo! With Daniela Lucato, Nicola Campanelli, Roberta Ricci, Giulia Fani, David Travers, Sara Fortuna, Connecting Fingers Company
With the kind support of Grün Berlin GmbH
Body (19)
Thanks to Dancing Opportunities I'm happy we have been selected to FIDCDMX (Mexico City)
with my last work The Rebellious Body (Connecting Fingers Company)interpreted by Nicola Campanelli.
You can read the entire article here:
Thank you Dancing Opportunities!
LUCHA is a AI research and creation project by Brisa MP human artist. Lucha is a machine for the performing arts. The project explores the notion of body-data and the collaboration between machines and humans, displacing of the choreographer category to the machine and activating a peaceful audience as representation of our controlled society.
LUCHA suggest the role of matters are not, in the present day, and will ever be in future, only means of human expression and human creation, but they may one day enter into a de-hierarchical or even superior dialogue with the human race. LUCHA 1.0 is my first exploration into artificial intelligence that was created upon the performing art s and technology piece titled HERE.
LUCHA 1.0 with the support:
Creation Grant Generalitat of Catalonia Culture Department .
Residence at MediaLab L´Estruch Creation Factory. HANGAR. Barcelona. 2020.
+ more
LUCHA PROJECT EXHIBITION
OPENING July 17th 2021
DY3COPIA BODY AND TECHNOLOGY
VIRTUAL GALLERY
SECOND FLOOR GALLERIES - ROOM F: Mary Neubauer, Brisa MP
Introducción: Arte, Cuerpo, Tecnología Aproximación a un Panorama Actual Latinoamericano" from Caída Libre on Vimeo.
ABTRACT
Art, Body and Technology: an overview of current approaches from Latin America
By: Brisa MP (Chile)
The presentation aims to make a brief tour of the current state of the art of the production that articulates the human body and the technology in the fields of dance and performance. This tour offers a mapping of various levels of production, such as artists, work of art , theoretical production, collaboration networks, research in Latin American festivals and an analysis of the general situation in the region.
No doubt that the art-technology development in Latin America has been largely led by artists from the visual arts. In this scope we can see that the performative arts are not far behind, while its approach to science and technology has been happening slowly, it is now possible to recognize several projects developed in our region. These projects constitute a network of performances, educational and outreach that have shaped a recognizable set between dance-performance and technological mediation.
Moreover, the state of the art makes evident conceptual, aesthetic and economic problems, it proposes new ways of collaborative creation, instances of intercultural exchange and training that have allowed local development of projects pushing the boundaries of traditional Dance and Performance Art territories.
Meanwhile It is recognized that in Latin America a first approach to the relationship between dance and technology, comes from the videodance production, in which the initial scenic event moved to digital imaging and the screen. This is evident in several countries, making it visible a second state of the dance-performance and technology exploring more complex technical and aesthetic structures therefore presenting unequal levels of development in the countries of the region.
Great documentation about the meeting that gathered
The conscious body: an interdisciplinary dialogue. Paris 8 5-7 October 2012
See documentation here:
http://theconsciousbodymeeting.wordpress.com/media/
This workshop proposed a meeting place for two communities who have been investigating the nature of consciousness in, possibly radically, different perspectives. Over the past half a century (and especially over the last 15 years) cognitive scientists and neuroscientists have been studying the nature and neural basis of our phenomenological ‘subjective’ experience of the world, our own body and action and ultimately our selves. This research has employed traditional paradigms and scientific protocols of experimental (neuro)psychology as well as the emerging technology of human functional brain imaging (fMRI, EEG, MEG, TMS, intracranial recordings). Though most of the research on the topic has taken the traditional “third person perspective”, the intimately subjective nature of this topic has led scientists to integrate subjective reports into their experimental paradigms.
The study of consciousness and awareness using subjective (first person) phenomenological tools has been a central occupation within post-modern dance and related somatic techniques since at least the 1960′s. Despite the shared topic of interest, there has been little cross-talk between neuroscientist and dance makers .We believe that such dialogue is possible and that it has the potential to cross-fertilize the research in both domains. For this purpose we have organized this weekend long workshop. The workshop will be organized in 3 blocks, each highlighting a specific dimension of inquiry (shared by both domains). Each block will consist of a presentation of cutting edge research in the field of cognitive neuroscience, followed by a movement practice led by a dance/somatic practitioner addressing the same general issues. Finally, each block will end with an open, informal discussion. The workshop will start with a live dance performance and will end with a poster session which will allow for non-presenting workshop members to share their ongoing dance/scientific
research.
http://theconsciousbodymeeting.wordpress.com/media/
Friday 5 October 2012 – Studio Keller
1. Arrival and introduction
2. Myriam Gourfink – “The Breathing Monster”
Saturday 6 October 2012 – Paris-8 University
Body awareness and the self (1)
3. Erik Myin
4. Lisa Nelson
Body awareness and the self (2)
5. Steve Paxton
Sunday 7 October 2012 – Paris-8 University
Consciousness of movement, movement of consciousness
6. Aaron Schurger
7. Eva Karczag
Sunday afternoon presentations
8. Konstantina Georgelou
9. Florence Daupias d’Alcochete
10. Christophe Lopez
11. Emilie Gallier
12. Frédéric Bevilacqua
13. Joachim Forget
14. Luciana Cheregati & Ibon Salvador – “coletivo qualquer”
15. Malcolm Manning
16. Iris Trinkler
17. Suzanne Cotto
18. Natalie Heller
PISO como plataforma de la improvisacion
en plancha HOY martes 24, 1:30 Inter Metro, Puerto Rico
en plancha este jueves 26 en el lote, Cinema Paradiso en la calle Loiza, Puerto Rico
junto a los estudiantes y profesoras del Departamento de Arquitectura de la Politecnica.
como plataforma para la improvisacion:en la Trienal. 28 abril hasta agosto 2012.
Arsenal de la Puntilla, VSJ, Puerto Rico
en plancha, en un espacio performativo: DanceSpace Project, NYC, mayo 19, 2012
en plancha fuera del area metro este verano 2012, Puerto Rico.
aun esperamos por nuestra primera respuesta afirmativa a varias propuestas que hemos solicitado
esta es una manera de apoyar este proyecto AHORA.
http://igg.me/p/36447?a=208955
gracias
P_B / P.A 1
P_B / P.A is an performance exercise… I try to think about the concept of “control-no control” from electronic devices attached to the body. This from the concepts of generativity and autonomous entities, as a way to reflect on the process of creation and production of art work, comprising work with dancer and technology as a global system where this concepts involved
The reactive system is a electronic sequencer with light sensor and speaker sound with the idea of clothing or accessory type bracelet, scarf, bracelet, etc.
Interactive System: + microcontroller pressure sensor. This is a reading on the Processing platform that by sending the signal is set to a range of sensor accuracy from XBEE protocol, data are extrapolated in a geometric graph.
INFO RESEARCH (ONLY SPANISH)
copy@left If only referring to project name or the author
The condition is based on the parameter “more light at higher pressure and smaller, less” going from 255 to 0 or vice versa. The graph comes from a structure ellipse, a rect, and line ranging achurando the screen as a digital pen set in “if” (If) and millis timer that is changing as visually the same hardware generating a graph where converge in the body itself, the physical and digital space as geometric and mathematical entities.
The body and the digital system under an instruction dialogue, improvisation moving body always generate a aletoria visuality.
Brisa MP . Buenos Aires, Argentina . july 2012
Some clips from the rehearsal and the show day.
Orbe is a Multimedia platform play in which most of the media content is interactive .
Duration 45 mins.
It,s a history about the inner and outer being and the way both influence and evolute togueter.
Orbe was part of the Bad-Bilbao festival and was shown on the 30th of november.
bad-bilbao.com/2011/orbe-plataforma-multimedia/
Director: Zigor Gorostiola Sauce
Interpretation: Ena Fernández
Interactive Designer,Programmer: Abraham Manzanares
Musical Production: DJ Amnsia
Therapeutic dance: Izaskun Zelaia
Assitant helper : Itzi Recalde Fragua
Video: Pablo Fernández, Iñigo López
Video resourses : Pausa digital
Thanks to all + :
Zigor for his effortless will of making things.
Irene Pereira for caring.
Izaskun Fernandez in place and show help .
,Itzi,Ena,Izaskun;Iñi,Pablo
Jesu y Piti for sharing their place .
Music of the video :
David nod - Noised - miga-label.org/eng/miga41.htm
Dance, Movement, and Bodies: Forays into the Nonlinguistic
ABSTRACT
Politically engaged art practices have been important inputs for feminist theory throughout history. In the contemporary art landscape, the work of Spanish multimedia artist Jaime del Val proves to be as innovative as it is provocative in how it reflects complex phenomena – from the undoing of traditional understandings of bodies and identities, to the capitalism of affects and the influence of surveillance technologies. Del Val's expressive strategies such as combining urban interventions with microcameras, and dance movements electronically coded and turned into visual images, create engaged artistic projects such as his ‘Antibodies of Surveillance’ and ‘European TelePlateaus’, respectively. The interview format allows for the exchange of first-hand information from a creative and multidisciplinary posthuman standpoint that questions dichotomous thinking in terms of sex/gender, human/non-human, activism/academy, ability/disability, among others. The result is a mapping of the work of this transnational artist that might inspire fruitful debates on ways to develop alternatives for social, cultural and political change.
assuminggender.com
In Volume 1, Issue 2
Autumn 2010
http://www.assuminggender.com/2010/11/cecilia-gordano-pangendered-cyborg-of.html
INTERFACE 2.0
INTERFACES FÍSICO VIRTUALES DEL CUERPO-JUEGO
País: Nueva Zelanda –Portugal
Dicta: Todd Cochrane (presencial) Isabel Valverde (Videoconferencia)
Total horas cronológicas: 2 cursos de 3 horas c/ u
Horario: Miércoles 24 y Jueves 25 11:30 a 14: 30 hrs. hora de CHILE
PHYSICAL INTERFACES VIRTUAL BODY
Country: New Zealand-Portugal
Dicta: Todd Cochrane (face) Isabel Valverde (Videoconference)
Total chronological hours: 2 courses of 3 hours each
Hours: Wednesday 24 and Thursday 25 11:30 14: 30 hrs. CHILE time
Country: New Zealand-Portugal
Dicta: Todd Cochrane (face) Isabel Valverde (Videoconference)
Total chronological hours: 2 courses of 3 hours each
Hours: Wednesday 24 and Thursday 25 11:30 14: 30 hrs. CHILE time
In SecondLife:
Location 1
LX Factory
Location 2
WI Three
Thomas Dumke with the background by Monolake Live Surround Taken from ds-x.org
Jacob Korn and his Harmony Universe (c) Taken from ds-x.org
Photo: mb21 backup taken from t-m-a
Mortal Engine by Chunky Move (c)
Even if you are in the relationship with somebody who is not online, she or he can’t understand what you are doing all the time. This is a thing in our cognition process, what Marshal McLuhan have postulated in the 60’s. This global village metaphor which is now happening… From the mental point of view, the fact that we are all coming together is based on television, online life and social media thing. This got somehow real, this webness and activities…Of course, and this urge to be connected… and the feeling when you are offline that something important is happening online, and you are not there to see it or try it… sometimes it’s haunting… How do people react to you concepts?TD: We have got mostly positive responses to what we do. I think, it’s always a decision of their own, if they got it right, if they understood this abstract level of sound and visual aspect. Somehow, we are all conditioned by Hollywood and totally illusionary media worlds that have to be colourful and more real then real in details. What we are doing is totally opposite. We use the senses with sound with an aim to make an impact, but a real one. Also, it gives you a chance to put there your own stuff according to things you actually perceive and receive.
Jacob Korn Live AV with hypecycle (c), taken from ds-x.org
Chunky Move (c)
Photo: tma (c) taken from bodynavigation
Photo: Zeitgeist by Hjørdis Kurås
Do androgyns dream of electric sheep by An Kaler, dancer: Gregory Holt
Photo by: Matthias Härtig/TMA Hellerau taken from flickr
Synchronous Objects by William Forsyth
Cynetart 2009, Automatic Clubbing taken from flickr
Johannes Birringer (c)
Cynetart 2009, Automatic Clubbing taken from flickr
Language Game by Kobakant (c)
Aurélien Bory in Zagreb, photo taken from SEEbiz (c)
CIE 111 performed the 'Seven Boards of Skill' which was really great chance to talk with Bory on his aesthetics, directing methods, usage of new technologies in art and the trilogy itself...Aurélien Bory studied film, then acoustic architecture before turning to theatre. He has been heavily inspired by circus and juggling since he was a teenager.The Company says about the trilogy: 'Since its creation, CIE 111 has been aiming to the development of a poetic writing, using juggling, acrobatics and music and exploring scenic language as a whole.With this point of view, the matter of space appeared obvious, on one hand because juggling and acrobatics are tightly linked to it and obey perfectly to its regulating laws and on the other hand because theatre is considered here like the art of space as defined by Oskar Schlemmer himself.Therefore, the concept of a trilogy about space is imagined declining its dimensions. Three-dimensional space (the volume), two-dimension space (the plane), one-dimension space (the line) become the themes of the three respective episodes IJK, Plan B and More or less infinity.That way, the fact is to question the relationship between man and space, from its more daily form until its conquest. Imagined as a poem in which the addition of simple forms produces, by layers, a complex structure, the trilogy suggests to the spectator’s imagination to proceed with ideas associations, recognition or projections of their own references and experience of today’s world. This flow of sensations becomes movement of thought. The elsewhere is in the core of our relation to space whose quest is endless, in loop, vain. Trilogy seems to be this: three dimensions, three elsewhere and three impossibilities.’Photo by Mihail Novakov taken from flickr (c)
Your stage work is always designed as a sort of puzzle, there is always some kind of construction we have to build in our imagination… you’ve studied cinema and physics and there are so many elements included in your performances… we have to solve something at the end of the performance…AB: Yeah, you’re right (laughs). I like very much this idea. I didn’t put it that way before, but I like it now, doing this puzzle. Like in this show. It’s right what you just said. I’ve always done puzzles (laughs).You were also inspired by Bauhaus, Oscar Schlemmer and all these geometrical constructions. … but it’s not only about the geometry…AB: Yeah. You know, I wanted to make theatre with everything. I think everything could be theatre. Everything that fits on the stage could be theatre. In the past, I worked a lot with different elements: slides to scenery, new technologies like video for example, which is not really NEW, but for theatre it’s new, you know (laughs). For example, I have done more then four performances with video. And for the show ‘Seven Boards of Skill’ I wanted to do a show without video, because it’s not a necessary tool. I wanted to come back to something more basic as blocs or architecture. Not to go in all directions, but to focus on one direction. But, it’s still, of course, a mix of things.I’m trying to find for each projects specificity. Not to be very specific, not to be too general or to do as I already did. I’m trying to do something new. As for my last performance, I’ve tried to do something with the architecture and the geometry. I wanted the show to be dead and it’s a change, because people on the stage are only doing architecture. They are trying to explore where could be their body in that architecture. So, the performance is questioning the place that we can build for ourselves in the world.Seven Boards of Skills, Cie 111 (c)
It’s very obvious that you tend to create a small microcosm, this time you have picked up a huge civilization. Chinese philosophy, art, theatre are massive and complex systems…AB: Yeah, I found very interesting the fact that China is the world itself. Basically, they had put the whole during years and years, being separated from the rest of the world. So, I didn’t want to say that in my performance, but I used this fact that it’s a world by itself. I wanted to put this on the stage: A WORLD. And the place of human beings in that world. Of course, I was very inspired by Chinese philosophy because it was very important to make some connection with that. It’s very important to respect the context of the performance. Chinese audience makes its connections, while Western audience makes other connections. It is not about China, I think it’s universal. It’s not about THE World, but A World. A construction of that, with some absurdity, with serious things, with humour, with poetry. Of course, poetry is something what I’m doing.It’s a stage poetry…AB: Yes, it’s stage poetry. As for poetry and myself, you know, I don’t have a message. Let the audience enters into this poetry and make its own message.Your are relaying on the audience… it’s a very opened structure… it’s about that what they see and how they perceive shapes and spaces…AB: Yeah, it’s an opened structure and if it works, the imagination is very active. If it works! If it doesn’t work, well, then you can get bored (laughs). In this kind of connection, I call it art. Art is not the object itself; art is relationship between you and whatever you are watching. That’s art. If it’s working that’s something incredible. You think that this painting, or film or performance have been made for you only. If it’s working really… It’s for me, it’s talking to me! (laughs). If it doesn’t work you don’t feel connection with that what you’re watching and it’s just boring.Can we go back to the human body, and the thing you’ve said previously that you are interested in these balances on the stage… Do you allow the actors to reveal themselves within your guidelines or you are directing them in which was they should be going? I don’t think in a sense of choreographing…AB: I’m trying to find all strategies to discover something that will surprise me. All strategies are good. Sometimes you don’t know what the exact strategy to find something is. I’m very interested to discover what I didn’t know before and it’s very difficult, because you don’t know how to get that. For example, I wanted to experiment with some kind of movement on these blocks. What I’m doing is that I’m trying all combinations. I’m interested to explore everything of this triangle, everything. OK, could you walk on it?! Could you climb on it?! Could you slide, jump or run?! What could you do?! What is the connection between you and this object? What is the connection between the bodies? What can you do with your body?It’s always a dialogue between the body and the space. This dialogue is infinite. I’m always trying to find little discoveries, you know. For this performance I needed that. Not discoveries that I already made in my paper book, while I was working prior going to rehearsals. I’m not looking for discoveries in that moment. I just make repetitions with the actors on the stage, then I’m searching to discover some new things. Something that I haven’t had thought about before. Sometimes nothing happen… Some days can happen something incredible by chance or something else…Seven Boards of Skills, Cie 111 (c)
Let’s switch now a little bit to this element of sound, and the perception of sound in your work… after all these elements we had mentioned before, sound could be the last layer in your work…AB: Yeah, yeah… you know, light and sound… I’m trying to make them acting to provoke things. So, the sound goes parallel in real time with actions. I’ve asked a friend of mine who lives in Paris to make some sound with Chinese elements like gongs. I said to him: I need the sound of the Earth and the sound of the Sky! GO! (laughs). After that, I’m cutting it with the sound engineer and technicians in order to make it adaptable for the stage. Exactly the same is with the light… I really want the light to follow the action and to be part of the action. So, at the beginning I only thing about the action, what’s the action and what is part of the action? Is light a part of the action?! Yes / No?! Do we need sound?! Yes / No?! I like silence, too.Silence is also a sound…AB: Yeah, exactly. I don’t like when music is an obligation. I don’t like when people are using music in theatre to be decorative or to make it beautiful. I like the action on the stage, so if the music could be also a part of this dialogue on the stage, that’s good. We don’t need necessarily music. Sometimes silence is more powerful. When I’m saying that everything could be theatre that means action. Everything could be part of the action, not decorative. Not to make it beautiful. I’m not interesting in making things beautiful. What is action and what could be part of the action?Could you describe me a bit your working processes…AB: I’m trying to make the concept of the product. It takes about one year of work. During this year I’m trying to answer questions: What is it about and what for? On first question you have to answer very clearly, if you can’t that means that you don’t know. If you don’t know, it means that there is no project. What for means why? What’s interesting in that you want to do? Why do you want to do it now? Why do you want to try that now? You have to answer to these two questions. So, my concept is to have an idea, to have those two answers. For example, I decided to make a trilogy about the space, because theatre is space. Theatre is the art of space. You have three, two and one dimension in theatre. Zero dimension is not a space, not space that we now in our physical world.So, I wanted to work with the space because theatre is space and what is space actually? It is volume – plain, line. You know, theatre is not only about space, but also about life. Space is maybe the most important thing is our life. We follow space, we live in space. We are very sensitive to space. If we feel good in the room or not we know that immediately. Human beings are very space animal. And we are always looking for new spaces. Now, we have to go to the moon. So, this was very interesting subject and I wanted to make three performances about that. So, then when I realized and had answers to my questions, I decided to put space, plain and line on the stage.From Erection, photo by Pierre Grosbois (c)
Taken from Sofia Dance Week
Then I’m trying to find the good scenery. I always work with the moving scenery. Now, it’s a part of my aesthetic. Scenery that you can move, not fixed scenery. Scenery that could be transformed. For example, if you remember Plab B performance, there were scenery and worlds designed completely vertical, not horizontal. But, it’s the same object. I work with object. Scenery is not a scenery that you are looking at, because scenery is part of the action and object. At the same time, the scenery itself is an object of the show. If it is a plain, I’m putting there a plain. Basically, if it is an tangram, I’m putting at the stage an tangram. It means, my work is very very basic. You know, the word tangram has been given to the game by Westerners, but the original translation from Chinese qi qiao ban would be the ‘Seven Boards of Skill’. I like working with that, which means that I believe in simplicity. But, I hope that after the whole process I would find not expected things. I want to create real surprises.Have there been other contemporary artists in particular that have had a strong influence on you, or whose work you admire?AB: I really believe in contemporary art today. Some artists are very inspiring. Of course, you have mentioned constructivism and Bauhaus… but I also like Op Art from the sixties, cinematic arts, then minimalism… But now, I’m also very interesting what is going on with photography, artists that cross the barriers of art. For example, I’m interested in contemporary artists which are doing now street art. I like artists which are combining architecture, street art and old monuments, statues, churches. Objects that have now different functions and meanings, and you feel like watching with new eyes. My question is: what is it about the art? Well, I think you have to give the eyes to the audience. For instance, there are a lots of photographers now, which are interested in bodies and dance…Seven Boards of Skills, Cie 111 (c)
Oh, sure… you mean Denis Darzaq…AB: Yeah! Darzaq is doing something I would like to do. This is definitely my style. (laughter) Darzaq and other photographers are now crossing the fields of dance, acrobatics and photography. It’s now a mix. Today, you can see a kind of mix of things. The artists of today are like that, mixing different things. I think I belong to them, too. I want to try new things that provoke something and refreshing a little bit. But, at the other hand, it’s not necessarily inspiring, because I don’t want to make all these arts. I want to enjoy in it as being a part of the audience. In cinematography my favourite film maker is James Gray. It has nothing in common with my work. For me, James Gray is like Dostoevsky, you know. He is an incredible film maker.There are lots of ideas in the moment that I really like in contemporary art. Very good ideas…What do you thing about technology usage in theatre? Affordable technology is developing faster and faster… lots of people are trying to play with it, some good… some less good…AB: You know, I think technology is not a subject, it’s a tool. If you get to make technology as art, that’s OK. But, if you make only technology that’s bullshit. There are also many rubbish things by many people who are ‘amazed by technology’. There are also people who are doing real art with technology. I like the work by Daito Manabe. He is making the sound with impulses from his face. I saw his work at Youtube.He does a kind of dance of the faces. He is using four different faces, and the result is the same dance because he uses electronic impulse. So, this is a little piece of art for me and it’s interesting because you see very passive dance. No will, just moving about our body. It’s talking about the fact that we are passive in a way. We just let technology enter our body. This is very interesting to me. But there are also many artists that are doing interactive arts with very sophisticated technology. When somebody is amazed because he moved his arm and made some sound from a machine I don’t find it an art.Do you think that this could be described as tech mannerism or baroque?AB: Yes. It’s only technological. Yeah, you moved your arm, and there is a sound behind. So, it’s a technological curiosity. It is only a gadget. It could be the first step, but of course it is not enough at all. For me, interactivity need this answers: what is it about and what for?Photo: Compaignie 111 – Sans Objet
Taken from Contemporary Performance Blog (c)
Do you desire to do something more with technology in theatre?AB: I’m in repetition now. I will have a new performance in October… It’s soon, yeah. It will be something with robots, old industrial robots. You know, robots that we use in car industry. I will stage this robot who has nothing to do and actors with their bodies. So, it’s a dialogue between them. It’s also based on sculptures. The subject is what is alive and what not? These barriers between alive and not alive. The relation between technology and body became so blur.Before, we knew robots were not alive, now it’s becoming a little bit blur. I’m talking about that. Also, it’s very inspired by Kleist’s philosophy. It’s inspired by Kleist’s thought’s on theatre and puppetry. So, it’s a kind of Kleist’s theatre of forms, because the robot is capable to take big objects, so I want him to take floor and build monoliths. This is a poem about inutility and useless activity, which is art and also a lot of things in human beings experience. Why do we need useless activities? And at the same time old robots are now useless. He built cars before, but now he’s is unusable. So, being useless is a little bit closer to human beings (laughs). So, I’m going to do that!Aurelien, Thank you very much!(This interview was originally published on Personal Cyber Botanica)inkscanner @ eyebeam Mixer from Friedrich Kirschner on Vimeo. The technique in Your Tube: Friedrich Kirschner's page
