Design - Blogs - dance-tech

Inspired by Nahuel

Posted by Marlon Barrios Solano on February 9, 2024 at 1:42pm

Immersing myself in this residency at Lake Studio Berlin, I have been inpired by the young designer and creative coder Nahuel Gerth. Based in Prague, he is not just a designer, but a visual storyteller, playfully weaving together the threads of science, arts, technology, with the laguage and tools of generative design. I am inspired by his passion for innovation and playfullness, while exploring the boundaries of human-computer interaction and design.

Nahuel is also a new dance-tech.net member.

PLAY WITH SOME OS HIS LIVE APPS!

Dancing Team https://nahuelgerth.de/tools/dancing-team/

Digital Twin https://nahuelgerth.de/tools/digital-twin/

Nahuel, plays with form, code, and emboiment. He uses procesural design for the web as a medium of art and playfully expands interaction with elegamt design. Visit Nahuel's Website and follow his journey on Instagram @NahuelGerth.

🖌️ Contrast and Identity 🖌️

One facet of Nahuel's work that profoundly resonates with me is the stark contrast it presents between the materiality of emboiment and slick graphic dynamic 2D design. He juxtaposes algorythmic design with the material reality of embodiment. This interplay between Nahuel's digital geometies and my corporeal existence creats a compelling narrative tension.

impossible simplicity
Day 2 AIR Lake Studios Berlin
Concept, programming, video and performance by Marlon Barrios Solano
https://marlonbarrios.github.io/body-tracking-pose/

🎨 Residency Experiences 🎨

t Lake Studio Berlin, my residency immerses me in a world where art and technology seamlessly blend to create a new frontier of expression. Armed with tools like p5.js and MediaPipe, coupled with the flexibility of web-based platforms, I sculpt interactive, generative environments that transcend traditional boundaries. These digital dances, born from code and creativity, exist as fluid experiences accessible to all, embodying the inclusive spirit of open-source technology.

Through my exploration, I strive to foster collaboration and inclusivity within the artistic community. Every keystroke and algorithmic tweak represents not just artistic creation, but also a commitment to sharing knowledge and insights. The LapTop Dances Prototype, a culmination of concept, programming, and performance, serves as a tangible manifestation of this ethos.

As I delve into realms of creative coding, machine learning, and generative AI, both in text and image, I anticipate the evolution of participatory performances that blur the lines between the digital and physical realms. Stay tuned for updates as I unveil the results of this exploration within the Laptop Dances | Soft Spaces project.

For ongoing research and developments, visit Marlon Barrios Solano's website.

the body of the text
LapTop Dances Prototype
Concept, programming and performance by Marlon Barrios Solano
Code and live app here:
https://github.com/marlonbarrios/the_body_of_the_text
7th day of AIR at @lakestudiosberlin

In this residency I am researching creative coding, machine learning, generative AI (text and image) and participatiry improvisational performance.

https://marlonbarrios.github.io/

I will be presenting some of tis reserach very soon and it is part of the project Laptop Dances | Soft Spaces.

#ArtAndTechnology #GenerativeArt #DigitalSculpture #InteractiveArt #CreativeJourney #dancetech

SENSES PLACES Mixed Reality Participatory Environment

Posted by isabel valverde on July 26, 2011 at 12:55pm

http://sensesplaces.wordpress.com

Watch live streaming video from beverde at livestream.com

SENSES PLACES
Mixed Reality Participatory Environment

By Isabel Valverde and Todd Cochrane

Senses Places is a dance-technology collaborative project creating a playful mixed reality performative environment for audience participation. Generating whole body multimodal interfacings keen to a somatic cross-cultural approach, the project stresses an integration of simultaneous local and remote connections, where participants and environments meet towards a kinesthetic/synesthetic engagement.

Tuning the audience participants into several whole body modes of physical-virtual body-body and body-environment interactions, within a physical and virtual environment (Second Life©), Senses Places re-purposes recent Web 2.0 enabled game devices with a synergetic/semantic approach to interface design. The interfaces include, video and avatar mediations via Webcam, Wiimote©, and Kinect©, plus a biometric device.

Emerging embodiments, realities, and cultures are generated by the multi-participant playful involvement as the participants follow, act upon, and respond to each other’s physical bodies, video mediations, avatar moves, and/or environmental changes. Climate related body-environment activity is affected through wireless communication, linking biometric inputs and environmental device actuators, such as, temperature-light/color, breathing-smoke/wind modulations.

Through an inclusive process engaging kinesthetic empathy, Senses Places deepens contemporary dance practices, interweaving Eastern-Western somatic based practices, like, Contact Improvisation, Tai Chi, Yôga, Body-Mind Centering, Release, and Alexander Techniques. The improvisation evolves in a sharing of corporealized places, times, and energies, encouraging a fuller experience of the moment.

Senses Places wishes to contribute to enlarge the range and interconnectedness of sensory-perceptions within the already complex practice of group improvisation, proposing a constructive and transformative means of inter-subjective and collective socialization, reversing the dead end substitution, gender and movement cultural stereotypification, and instrumentalization of bodies by avatars in social networks, such as Second Life©.

Rhode Island School of Design seeks Associate Professor

Posted by Marlon Barrios Solano on December 14, 2010 at 12:52pm

Rhode Island School of Design

Rhode Island School of Design seeks a forward thinking and experienced artist/designer, educator and scholar for the position of Associate Professor in its highly regarded Graduate Department of Digital + Media, with the expectation that this individual will also serve as the appointed Department Head starting July 2011. Established in 2003, the Department of Digital + Media offers an MFA program for approximately 30 students a year who bring diverse research interests and creative explorations of technology and the digital world to the fields of contemporary art/design, and new media practices. It is one of three stand-alone graduate departments at RISD. Because of its interdisciplinary structure and reach, the Department of Digital + Media has developed strong connections to other departments and programs both at RISD and at neighboring Brown University. The position offers a unique opportunity for a dynamic intellectual and pedagogical leader to guide the future of the department in its exploration of advanced art, design and research practices within the current cultural environment of ubiquitous digital media. The successful candidate should be an artist/designer who is engaged in the understanding of emergent, adaptive and social media technologies and their relationship with other media, disciplines and debates within contemporary theory. She/he will foster a department culture of curricular innovation in which faculty are encouraged to develop progressive teaching and research practices. As Department Head, she/he will play a pivotal role in supporting the diverse practices of D + M graduate students and forging partnerships with other graduate programs at RISD, as well as external research partners. She/he will develop the role of the Digital + Media Department as a research incubator and creative forum at RISD, and advance the Digital + Media program within the expanding field of new media and technology in art and design graduate education.

Applicants should have a terminal graduate degree in a relevant field or equivalent experience in art, design, media, computer art, or contemporary theory; at least 5 years of full-time teaching at the college or university (especially graduate) level or the equivalent; a demonstrated background and interest in academic, intellectual leadership in a graduate program; and a strong record of research and creative work.

Applicants should provide a letter of interest; statement of teaching and leadership philosophy in the context of this field of inquiry; curriculum vitae; names and contact information for three references; examples of creative and scholarly work; and selected syllabi from courses taught with examples of student work.

Review of applications will begin immediately, and continue until the position is filled. Candidates who submit their materials by January 5, 2011, will be assured full consideration.

For more information about RISD and to apply online visit http://www.risd.edu/jobs

RISD is an equal opportunity employer. We encourage inquiries from candidates who will enrich and contribute to the cultural and ethnic diversity of our College. RISD does not discriminate on the basis of race, color, religion, sex, age, national origin, disability, veteran status, sexual orientation, gender identity/expression, genetics, or any other protected characteristic as established by law, in employment, or in our education programs.

About the Department of Digital + Media:

The Department of Digital + Media is engaged in a critical examination and exploration of the dynamic relationship of technology, contemporary culture, media, and physical objects, time and space. It offers a two-year MFA with annual enrollment of thirty graduate students with a diverse range of undergraduate and professional backgrounds. The mission of the department is to create a resonant environment for leading edge creative work and research focusing on the creative potentials of media and contemporary technologies. Embracing the broad and dynamic potential of digital media as a ubiquitous tool across many domains, the department fosters exploratory work that exhibits a high degree of innovative visual, sonic, and/or textual expression with conceptual clarity and technological insight and agility. A continuum between digital media and physical objects, virtual and actual space is emphasized.

Working from a cogent theoretical, historical, and conceptual curricular core, the department is an environment that supports diverse forms of experimentation for students. Students are immersed in a multi-perspective approach to knowledge and contemporary culture with particular relevance to their own areas of interest merged with theory and critique from other disciplines and areas of research. Through a complex understanding of the capacity of digital and new media and social practices through conceptual, critical, social, and cultural inquiry, students pursue ambitious independent work and theses. Multiple, but interconnected, core intellectual values include:

- To know how to use digital (and analog) technologies; study and understand the various perspectives of their histories and how they came to be

- To understand the implications materialized in a device or technology; why they are there and for whom, in order to challenge, critique, and interrogate the embedded assumptions and prescriptions and engage critically with technologies

- To investigate existing or make new technologies from the perspectives of artists and designers rather than from traditionally trained engineers

- To work in the areas of social practice, activist practice, and science, technology, and society studies in both material and community projects

Performance, installation, dance, film, sound, objects, two- and three-dimensions, video, glass, ceramics, architecture – any of these forms and media may be part of students' practice and research, but these forms are not the sole reason the work exists.

Call for fashion designers for 'Intimacy Lotus' and 'Intimacy Black'

Posted by V2_ on March 31, 2010 at 1:23pm

Artist Daan Roosegaarde and V2_Lab are looking for two fashion designers (M/F) to contribute to the 'Intimacy' series.

'Intimacy White' (2009), the first dress in the series, is made out of smart foil that becomes transparent when electrified. The distance of a spectator to the dress determines the level of transparency. This first dress received a lot of media attention and is considered highly successful. V2_Lab and Daan Roosegaarde now intend to make a series of 'Intimacy' dresses, each playing with a different material to create a sensual play of shared control.

'Intimacy Lotus' is a new heat-sensitive material by Studio Roosegaarde, responding and physically moving to the subtlest amount of warmth. We invite one designer to create a new interactive dress with the Lotus foil.

'Intimacy Black' is the dark sister of 'Intimacy White'.

We invite one designer to create accessories with the black foil that become
transparent when electrified.

Daan Roosegaarde says: ‘Technology is used here not merely functional but also as a tool to create intimacy as well as privacy on a direct, personal level ... which in our contemporary tech society is becoming increasingly important.’

In order to take this step from one dress to a series of fashion items, V2_Lab and Daan Roosegaarde are looking for:

Recently graduated or senior year fashion designers (M/F);
He or she must be able to participate in thought process along the lines set out by V2_Lab and Studio Roosegaarde in the preliminary stages and therefore must be a good team player;
He or she must be ambitious and determined to achieve our request for success;
The project starts on 1 May 2010. It is a full-time position for a period of 8 weeks.

What we offer:

Access to functioning new technology, an existing prototype and an artist' Impression of the intended final product;
A workplace at V2_Lab;
The opportunity to collaborate with an experienced, interdisciplinary team;
Technical support and backup;
Exhibition of the end result;
Name credit.

Please send your resume/portfolio and motivation before 15 April, preferably by email, to piem@v2.nl

V2_Institute for the Unstable Media

Attn. Piem Wirtz

Eendrachtsstraat 10

3012 XL Rotterdam

Eligible designers will be invited for an interview end of April.

About 'Intimacy White'

'Intimacy'

http://www.v2.nl/lab/projects/intimacy

'Intimacy Project Blends In Latest Technology With The Trendiest In Fashion Today'

http://elitechoice.org/tag/studio-roosegaarde-v2-lab/

'Intimacy: A Sensitive High-tech Garment'

http://ourfavoritegadgets.blogspot.com/2009/12/intimacy-sensitive-high-tech-garment.html

'Intimacy— A Sensual Haute-tech Wearable'

http://www.fashioningtech.com/profiles/blog/show?id=2095467%3ABlogPost%3A12563

Interview with Aurelien Bory: On stage puzzles and space formulas

Posted by body pixel on October 14, 2009 at 12:30pm

During this year's edition of Eurokaz - The International Festival of New Theatre I had an opportunity to interview artistic director of CIE 111 Company, Aurelien Bory...

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.

But in my last two performances, which are part of the trilogy inspired by Oskar Schlemmer, it’s difficult after that to say what is it exactly. If it is dance or circus… even in this show you can say that it is circus. There are very scary balances with architecture, it’s like these blocs are doing acrobatics by themselves, you know.So, it’s mixed and people usually ask, what is this? I answer them: It’s theatre! Of course, we can do theatre with dance. For example, the biggest choreographers like Pina Bausch, before everything she was an excellent director. For me, being a theatre director stands before being a choreographer. They are doing their work for stage. First of all, they are excellent stage directors. I follow these ideas – the idea of theatre, the idea that we can do everything with theatre, circus, architecture, music, images, shadows… like shadow puppetry, you know. When you really want it, you can do theatre with these things and the only important thing is to respect the rules of the stage. They are complex and each performance is an opportunity for me to get something new about those rules.It’s interesting that you have found inspiration in street art… basically, circus and jugglery are ancient forms of street art…AB: I wouldn’t say street art. Because I’m not very connected with street art, but I’m very interested in acrobatics, juggling and these kind of things. They interest me because they’re very connected with physical rules and gravity. Falling ball, the body… to do acrobatics is to define the gravity, to dance also means to define gravity. And at the same time to listen the gravity, to let it be in our body or in the object.So, because of all these I’m interested to be connected with the physical world. Theatre is the only place where gravity is for real. You know, it’s the only art, not the place, but the only art where gravity is the part of the game. If you write a book, or make a movie there isn’t gravity. You can lie with gravity… Gravity is a part of the space, part of what you are doing. That’s why all things that I have chosen are connected with this direction – the art of the space.This trilogy is about the space and this piece is simply an extension of it. In this performance I’ve applied all what I did in trilogy to make something different. It is a little bit more philosophical then the whole trilogy. There was also philosophy in the trilogy, but in a very specific way: form, subjects, volume, playing, laying. In the Chinese show there is more about the WORLD. I’m talking about the world in a sense of humanity.

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)

Call for a fashion designer for “Intimacy”

Posted by V2_ on September 1, 2009 at 11:46am

Artist Daan Roosegaarde and V2_Lab are looking for a fashion designer (M/F) to help realise “Intimacy”, a next step in wearable technology.Artist Daan Roosegaarde, known for his interactive artworks such as ‘Dune’ and ‘Sustainable Dance Floor’, is expanding his artistic and innovative horizon to include fashion. In close collaboration with V2_ Lab he will be developing electronic fashion that becomes visually transparent according to the amount of personal intimacy involved.The dress ‘Intimacy’ is made out of smart foil that becomes transparent when electrified. The distance to the dress determines the level of transparency; creating a sensual play of shared control.Daan Roosegaarde says: ‘Technology is used here not merely functional but also as a tool to create intimacy as well as privacy on a direct, personal level ... which in our contemporary tech society is becoming increasingly important.’In order to take this step from prototype to haute couture V2_Lab and Daan Roosegaarde are looking for:- a recently graduated or senior year fashion designer (M/F) with an affinity for hairstyling;- he or she must be able to participate in thought process along the lines set out by V2_Lab and Studio Roosegaarde in the preliminary stages and therefore must be a good team player;- the project starts on 1 November 2009; it is a full-time position for a period of 4 to 6 weeks.What we offer:- access to functioning new technology, an existing prototype and an artist's impression of the intended final product;- a workplace at V2_Lab, Rotterdam;- a trainee allowance;- exhibition of the end result;- name credit.Please send your resume/portfolio and motivation before 1 October, preferably by e-mail, to:piem@v2.nlV2_Instituut voor de instabiele mediaAttn. Piem WirtzEendrachtsstraat 103012 XL RotterdamEligible designers will be invited for an interview mid-October.

Waybe for Google SketchUp launches 3D Unfolding Plug-in Now Available for Mac and PC

Posted by Sarah Jane Pell on September 15, 2008 at 1:30am

CAMBRIDGE, Massachusetts., September 14, 2008 – Waybe has released both a PC and Mac version of its unfolding plug-in for Google SketchUp 6 and Google SketchUp Pro 6. Waybe unfolds 3D models within Google SketchUp so that they can be printed, cut, and re-assembled in the physical world.“Waybe complements SketchUp in that it gives users an easy and inexpensive way to actually bring their creations into the real world,” said Justin Anderson, Waybe founder.Waybe is a plug-in for Google SketchUp that provides a simple toolbar to aid both automatic and manual unfolding of 3D models created within SketchUp. The ability to test unfolds directly within SketchUp allows for faster design cycles, and an interactive print window can fit all unfolded components onto a minimum number of printed pages. Custom page sizes make it possible to scale folded models to any desired size from desktop printers to large plotters.Waybe is appropriate for hobbyists creating vehicle and character papercraft as well as architects and engineers seeking a faster method of creating 3D objects for prototyping and modeling.Availability and PricingWaybe 1.0 is being sold online for $49.95 in both PC and Mac versions. Visit http://www.waybe.ca for additional product information.About WaybeWaybe is a software company started by graduates of the Massachusetts Institute of Technology. The company develops software products that bring 3D digital objects into the physical world.

Sweet Surface_Dance on Sugar by Linda Florence

Posted by Marlon Barrios Solano on February 15, 2008 at 3:30pm

Wallpaper designer Linda Florence created a patterned dance floor of sieved icing sugar at the Victoria & Albert Museum in London, which served as a stage for a performance by ballroom dancers. As they moved, the dancers’ feet created new patterns in the sugar, which had been dusted over the floor using stencils. Reblogged from de zeen

Design And the Elastic (embodied) Mind...Amazing!

Posted by Marlon Barrios Solano on April 7, 2008 at 9:00pm

This is an very good show at the MOMA with also a much better online exhibition

Robert Full: Secrets of movement, from geckos and roaches

Posted by Marlon Barrios Solano on June 5, 2008 at 5:46am

Amazing and relevant research on the Foot and its biological design...and biological inspired robots. Walking and Falling... Laurie Anderson

Robert Full: Secrets of movement, from geckos and roaches

Posted by Marlon Barrios Solano on June 5, 2008 at 5:46am

Amazing and relevant research on the Foot and its biological design...and biological inspired robots. Walking and Falling... Laurie Anderson

Peek to the Design and The Elastic Mind @ Moma, NYC

Posted by Marlon Barrios Solano on May 4, 2008 at 6:36am

Find more videos like this on dance-tech.net
Short video of some pieces at the Moma in NYC. It was not allowed! Emergent Surface by Chuck Hoberman https://www.youtube.com/watch?v=fsD6p7OXfA8 http://www.seedmagazine.com/news/2007/06/seed_salon_lisa_randall_chuck.php Technological Dreams Series N.1 by Anthony Dunne and Fiona Raby http://www.we-make-money-not-art.com/archives/2007/03/-your-works-exp.php Shadow Monsters by Philip Worthington https://www.youtube.com/watch?v=g0TOQo_7te4 http://www.moma.org/exhibitions/exhibitions.php?id=5632 Flickr photo set here See a very cool website companion of the exhibition. Very good! Closes this week!

Note: this page contains paid content.

Note: this page contains paid content.

Note: this page contains paid content.