Dresden (7)

CYNETART 2010 Videoteaser #1 from Trans-Media-Akademie Hellerau on Vimeo.

CYNETART is an international festival for computer-aided art in Dresden.
The festival has been the focal point of the research at
Trans-Media-Akademie (TMA) Hellerau for 14 years now. This work has made
the festival become a countrywide and internationally recognised
platform of digital culture – providing an in-depth overview of current
developments of technology-based art.

Since the foundation in 1997 CYNETART has accomplished a lively mix of
creative programmers, skilful engineers and innovative sound technicians
and media artists from all over the world. With their original ideas
they come together in November every year. The event presents current
trends in the artistic contention about and application of computer and
network technologies.

Every two years the festival is accompanied by the international
CYNETART competition. With a total prize money of 28.400 Euro it ranks
among Europe’s top awards in the area of media art. An international
expert jury chooses the winners of the CYNETART-award from more than 300
submissions and 30 countries. It also awards a sponsorship prize and an
artist-in-residence-scholarship funded by the Saxon State Ministry of
Science and Art.

CYNETART is a dynamic and energy-driven festival which thrives on the
variety of its international artists and visitors. It features the
captivating architecture of the exceptional and authentic venue, namely
the festival theatre Hellerau and a program rich in contrast. The latter
includes performances, exhibitions, lectures and workshops as well as
electronic live-concerts – altogether an exciting panorama.

The upcoming 14th international festival for computer-aided art will
open on 11th November 2010 with the awards ceremony for the CYNETART
competition 2010. On seven event days the 14th edition of the event is
going to present an exhibition with the prize-winning works and selected
competition entries, first-class performances and an evening program
including live sets with international electronic musicians and VJs.

Thursday, 11th November 2010 | OPENING CYNETART 2010

8 pm
Opening CYNETART 2010 with CYNETART award ceremony (( Great Hall ))

9 pm
CYNETART-Lounge: Get-Together | Receiving with Kali Avaaz
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))
JUNGEN FREUNDE der Staatlichen Kunstsammlungen visiting CYNETART 2010 (( Foyer ))

Opening CYNETART exhibition

presented works:

’ ! ’ | Sound Sculpture by Anke Eckardt
Transducers | Modular System by Verena Friedrich
Post Mortem | Installation by Jannis Kreft
MoshPit Amp | Metal Head Orgasmotrom by fur////
[oszo 34]TM | Installation by Ritchie Riediger
WOP POW | Crash Color Bullit Chic by Ubermorgen.com feat. Annabe
LAG | Installation by Ulf Langheinrich
Default to Public | Tweetscreen by Jens Wunderling
Art Zeppelin | Virtual Exhibition by Igor Sovilj
Mirror | interactive, net-linked installation
Radical ATM Service | Installation by Iván Kozenitzky and Frederico Lazcano
Frühstück | Installation by DoppeldenkTM

9 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

10 pm
undsonstso | creative comments (( Great Hall ))

CYNETART suggests: Altes Wettbüro

Friday, 12th November 2010 | Automatic Clubbing Night I

3 pm - midnight
CYNETART exhibition

5 to 7 pm
CYNETART-Lounge: Meet the CYNETARTist – artist talk

8 pm - 10 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

8 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

9 pm
Zerkalo (Victoria Lukas & Marie Athénaïs) (FR) (( Great Hall ))

10 pm
Annie Hall (Live) (ES) (( Great Hall ))

11 pm
Minimal Wave Showcase with Veronica Vasicka & Traxx (Jak-Nation) (( Great Hall ))
Traxx Playing LIVE**(special engagement)** and wax

Saturday, 13th November 2010 | Automatic Clubbing Night II

3 pm to midnight
CYNETART- exhibition

3 pm
Utopia Attraktor-Workshop I: Utopia and participation

8-10 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

8 - 10 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

10 pm
Uncanny Valley Showcase with Uncanny Heroes by Jacob Korn & intolight (( Great Hall ))

CYNETART suggests Altes Wettbüro

Sunday, 14th November 2010

11 am - 6 pm
CYNETART exhibition

11 am - 6 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

4 - 6 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

3 pm
Utopia Attraktor-Workshop II: utopia and participation
with: lizvlx
Partizipationsformat: EEG

7 pm
RiP: A Remix Manifesto | film by Brett Gaylor (( Kunsthaus Dresden ))

Tuesday, 16th November 2010

6 - midnight
CYNETART exhibition

6-8 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

8 - 10 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

9 pm
Particle | AV performance by Dfuse (( Great Hall ))

10.30 pm
DRIFT | movie by Ulf Langheinrich (( Great Hall ))

Wednesday, 17th November 2010

11 am - 10 pm
CYNETART exhibition

6-8 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

4-6 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

8 pm
López Immersive Sound | Concert by Francisco López (( Great Hall ))


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dance-tech.net and movimiento.org are very glad to announce that
TANZPLAN DRESDEN offers three grants: course fees to the full amount for the duration of the Workshop for the International Summer Workshop
muse 010 at Palucca Schule Dresden from July 26th – August 6th, 2010 .

Each grant includes course fees to the full amount for the duration of the Workshop (all classes and workshops)
If you fulfill the following preconditions, please apply by July 15th, 2010:
1.-You have to be a dance-tech.net or www.movimiento.org member (you will need to send the link to your profile page)
2.-You are at least 18 years old by the beginning of the Summer Workshop, 3.-Have completed at least two years of professional training in dance.
4.-International insurance: if you are selected and invited you must have an accident, medical and third party insurance for the duration of the Workshop.

NOTE: You must book the journey and accommodation on your own.

Application procedure:
1.-Send us via email to vollmer@tanzplan-dresden.de and include:

  • Please send us your CV in English (full address, birthday, age, nationality)
  • CV in English
  • 1 dance photo
  • Short letter of motivation (max. 400 words).
  • A link to your page in any of the networks.
  • It is recommended that you have video of your performance and/or choreographic work posted in the networks.

The grantees are asked to blog one a week about their experience in the workshop

Tanzplan Dresden and an selected jury will communicate the decision at latest by July 18th , 2010.

About Tanzplan Dresden
About MUSE 10


La organización Tanzplan Dresden ofrece tres becas a los miembros de dance-tech.net y movimiento.org

dance-tech.net y movimiento.org están felices de anunciar que Tamzplan en Dresden, Alemania ofrece tres becas para los miembros que reúnan ciertas condiciones al programa de verano MUSE 10 a realizarse en la escuela Palucca por dos semanas desde el 26 de Julio al 26 de Agosto 2010.

Cada beca cubre en su totalidad la matricula por la duración de todo el taller y cursos.
Llena los siguientes requisitos y envía la aplicación hasta el 15 de Julio 2010:

1.-Ser miembro de movimiento.org y de dance-tech.net. Tendrás que enviar la dirección de tu página y perfil.
2.-Haber cumplido por lo menos 18 años para la fecha del comienzo del taller de verano.
3.-Tener por lo menos 2 años de entrenamiento profesional en danza.
4.-Seguro Internacional: en caso de ser seleccionado e invitado, debes tener seguro medico, de accidente por la duración del taller.

Los seleccionados tendrán que bloguear una vez a la semana sobre su experiencia en la escuela.

NOTA: el invitado seleccionado será responsable por sus gastos de transporte y gastos de estadía en Dresden.

Procedimiento de aplicación:
1.-Enviar un email a vollmer@tanzplan-dresden.de incluyendo:
CV en ingles (fecha de nacimiento, lugar de origen, edad)
1 foto en performance de danza
carta corta manifestando interés y motivación (400 palabras)
El enlace a tu pagina en cualquiera de las redes.
Se recomienda también incluir videos de tus performances o trabajos coreográficos subidos en las redes
Tanzplan Dresden y un jurado selecto comunicara la decisión el 18 de Julio de 2010

Lee sobre Tanzplan Dresden
Lee sobre MUSE 10

A organização do Tanzplan Dresden oferece três bolsas para os membros das redes sociais dance-tech.net e de movimiento.org

dance-tech.net e movimiento.org estão felizes de anunciar que Tanzplan em Dresden, Alemanha oferece tres bolsas para os membros que atendam as especificidades para participarem do programa de verão Summer Workshop muse 010 , a realizar-se na escola Palucca, por duas semanas, entre os dias 26 de Julho a 26 de Agosto de 2010.

Cada bolsa de estudo cobre, a matrícula total para cada curso.
Se voce atende aos requisitos abaixo, envia sua inscrição até 15 de Julho de 2010:

1.-Ser membro de movimiento.org ou/e de dance-tech.net. Para comprovar, voce terá que enviar o endereço eletrônico de sua página nessas comunidades e perfil (nome de membro).
2.-Ser maior de 18 anos até o começo do curso de verão.
3.-Ter treinamento profissional em Dança há no mínimo 02 anos.
4.-Seguro Internacional: no caso de ser selecionado e convidado, deve ter seguro médico e de acidentes pessoais por toda duração do curso.

Os selecionados terão que bloggear una vez por semana sobre sua experiência na escola.

NOTA: o convidado selecionado será responsável por seus gastos com estadia e traslado em Dresden.

Procedimento de Inscrição:

Enviar um email a vollmer@tanzplan-dresden.de com os seguintes:
CV en inglês
1 foto sua de uma performance em Dança
Carta de interesse manifestando o que te motiva a participar do curso
Mandar o endereço eletrônico de sua página em alguma das duas redes sociais.
Se recomenda também incluir o endereço eletrônico de vídeos que estejam postados nessas redes sociais, com suas performances ou trabalhos coreográficos.
o Jurado do Tanzplan Dresden comunicará sua decisãoo em 18 de Julho de 2010

Leia sobre Tanzplan Dresden
Leia sobre MUSE 10




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Video about Tanzplan Dresden, Germany
(Mostly in German)

Watch live streaming video from dancetechtv at livestream.com

marlon barrios solano, dance-tech.net producer will be an embedded Vlogger
@ Tanzplan Dresden making interviews, lertures and Live streaming direct from

muse 010

Interdisciplinary Workshop for professional and advanced dancers
July 26th - August 6th, 2010
Palucca Schule Dresden – Hochschule für Tanz

STAY tuned!

About the workshop!

Getting back into shape is the focus of Tanzplan Dresden’s fourth Summer Workshop! Do you want to get trim once again after a well-earned summer break? This two-week course programme offers a wide range of training at various levels in contemporary and classical dance, as well as courses in improvisation. The classes take place in studios at the Palucca Schule and are taught by dance teachers with international reputation. Most instruction is in small groups to ensure that participants receive intensive individual attention. This year’s muse 010 Summer Workshop instructors include Prof. Jason Beechey (Rector of the Palucca Schule Dresden), Anton Lachky (Les Slovak ) and Marion Ballester (e.g. Rosas). Furthermore, during the Summer Workshop three young choreographers will also be undertaking a Creative Residency at the Palucca Schule and will enrich the evening programme with their choreographic works and showings. Participants can put together their own personal course programme. Small groups guarantee intensive individual attention. We recommend that you book early as the number of participants is limited and places are given on a ‘first-come, first-served’ basis.

Summer in Dresden – come and be kissed by the Muse in the city on the Elbe!
Yours sincerely Tanzplan Dresden

Watch live streaming video from dancetechtv at livestream.com

Watch live streaming video from dancetechtv at livestream.com

Watch live streaming video from dancetechtv at livestream.com
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Back in October I spoke with Thomas Dumke about CYNETart Festival and performative arts in the context of new media art. Our conversation was possible thanks to Sonja Lebos from UIII.org, Association for Interdisciplinary and Intercultural Research, based in Zagreb. Sonja's organization is deeply rooted in architecture, urbanism and new media art.

Thomas Dumke with the background by Monolake Live Surround Taken from ds-x.org

Thomas then gave a lecture in the net club Mama about the history of Festspiel Haus Hellerau, Trans-Media-Akademie Dresden and the festival.Thomad Dumke studied history and sociology from 1997–2002 at TU Dresden, postgraduate in culture & management. Since 1999 Thomas Dumke is part of the international festival for computer based arts CYNETart in Dresden, in 2000 he initiated together with DS-X.org the »microscope session«, an event for audio-visual concerts, founding member of TMA Hellerau in 2001, from 2006 he has been the director of the CYNETart festival. He is a member of the artist collaborative DS-X.org.

Let’s start with the concept of your festival CYNETart… I find it very interesting and slightly different in comparison with other media art festivals, because you didn’t give up from the body…TD: The Trans-Media-Akademie organizes annually the CYNETart Festival and we understand media art more as a research approach and within this we are focused more on the changes of our perception and self image of our movement or our body feeling in relation to ongoing mediation and mediazation processes.We are interested even in our relation with the human environment. This is somehow our, lets say, scheme or issue. If we have this scheme for body and space relation or our body environment relation, the question is how we can use media technology to make us aware of this relation? There are also somehow rational aspects, because we are using objects with technology. It’s not esoteric, para-psychological or whatever.

Jacob Korn and his Harmony Universe (c) Taken from ds-x.org

It’s cybernetics! It means that everything is provable. But we think that we can use technology to make things experienceable or sensible, what in normal case is not experienceable. We are trying to establish with our CYNETart Festival a platform to present a different kind of performative installation works or even stage performances. We have also workshops and club events for the younger audience.So, it’s also a community oriented festival, because it seems that you want a reaction by the audience?TD: Yes! This is also very important. We don’t want to be hermetically closed for the audience. That’s what we are really trying to achieve within Tele-Plateus project where we would like to establish virtual environments, interactive environments in the public space.Tele-Plateus should function in that way with a public stage, or even something like a star gate for other cities. Virtual environments should be connected to each other, to give the citizens of these cities the possibility to interact with audio, sound and visual elements. Somehow, this is an abstract way, nothing like Skype connection or so. Today, you can make face to face connections like on TV.

Photo: mb21 backup taken from t-m-a

We are really trying to stay at some abstract level, because we know from previous experiences that when you hear and focus on one point, then you are able to activate your potential imagination. I mean, literally I don’t know you, but I have got the feeling of you…If I have a contact with your shape or with your sound, maybe I don’t know you, but your are on remote and I have a contact with your generated sound. And you are interacting with my sound, too. This is this point, we meet each other on the sound level and the task for the audience or the composer is to give a set up of one environment, which should be easy going or just easy approachable to have this kind of experience.Experience in which I am with somebody, but for instance three people with me projected in one space, of course this is hyperspace and it’s only in mind. It’s not for real, because all scales and environments are on different places and in that particular time, if you are active with each other, we are sharing one space, and this is sound space and the space in your head.

Mortal Engine by Chunky Move (c)

I’m glad that you mentioned just now this important aspect of hyperspace in the context of perception or mental space, lets say colloquially ‘in the head’…TD: Yeah, yeah. Even the whole process that is going on at the moment, if we really observe the internet natives, these new generations that are going up… My experience was like this, if you met somebody offline. Let's say it in terms of online and offline reality. There are totally different intentions in real life, a totally different way of perceiving things. That’s sometimes funny for me, but it does not have to be funny for other person.

Ballettikka Internettikka (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

For instance The 'Schlamp' installation by Frieder Weiss and Emily Fernandez has opened pretty interesting discussion on computer games, does it make a difference if I’m shooting on a real person or 'real character' that looks more like a real body? Or maybe I’m only shooting on black square or an abstract thing. I think that in a psychological way or mentally it makes no difference. Our neurons and brain have the same neuro-electric processes whether we are shooting digitally or for real.We had interesting experiences while presenting installations where people were projected on the street or on the floor. After some time passers would start to jump or trying to hit digitally projected people. They just kicked them out and showed that they don’t have respect for the virtual re-presentation because it’s not real. I think, this case shows the current issues even if you look to finance market. It’s raising up on the virtualization of the world.

Chunky Move (c)

Why the market has collapsed? Because there is no relationship to the real world. Like in the past we had the relation to the material world, like gold used to be in the past. It was like a never ending game. How we are dealing with this virtual reality thing? Is it a quite similar world? For instance, we are jumping faster but in the music industry, actually everything is the same, there are terms like sharing, copy right and so… The question is what is this virtual world? Why we are sharing so simple, because we can digitally re-produce things quite simple. We do not care about copyright anymore.

Photo: tma (c) taken from bodynavigation

I’m still buying vinyl, because I are really like music, but I can’t share or copy this vinyl. So, it’s something that has this aura thing which I think is increasingly present lately, to experience things in our real environment. A good aspect of virtual environment is that you can’t reproduce a video, a record or a CD, but you have to experience it by yourself.In the same category we can discuss on watching interactive dance, because dancer can experience this interaction but the audience not. Dancer is inside and the audience is not. This is one quality aspect and it has some kind of aura. This self experience can be in local virtual environment or in networked virtual environment. This is new, it could be development and comprehend.

Photo: Zeitgeist by Hjørdis Kurås

But the whole story is pretty much based on performative aspects, dance...TD: It’s based on performance. Actually, we don’t like to work with dancers, we have a local school in Dresden and there are lots of dancers. The thing with dancers is that they are educated somehow in the direction of the quality of movements, release techniques, different dancing techniques and so. You know, it looks like Forsythe or it looks like something else. Of course, there are different types of new students coming to the new repertoire and they would like to test generated sound and visuals.Usually, they are coming with all the movements they have learned in school and they don’t listen to the sound or just react to this base, which is a mistake. But, what is happening during this processes? If you have a feedback effect or closed circles you are inside this instrument, and inside this environment you have to react to each other.

Do androgyns dream of electric sheep by An Kaler, dancer: Gregory Holt

Sure, it's not important what dance technique you're using, but the way you comprehend movement as it is...TD: It doesn’t make sense if you make a ‘William Forsythe movement’ because the instrument and your environment don't know that. Hence, it doesn’t recognize that. The instrument recognizes your movements, intensity or something like jumping. But, it doesn’t recognize the special quality of typical dance forms. I don’t like to work with professional dancers because you have to push away this conditioned way of how to move through space.There is no sense to do some technique in such environment. This is our approach. You have to experience by yourself and you have to use it like an instrument. Even piano players use different interpretations, especially in comparison with Jimmy Hendrix and the way how he used electric guitar.

Photo by: Matthias Härtig/TMA Hellerau taken from flickr

It’s different and at the other hand it’s the same in performing arts and in fields where you have to think on how to move. Even sometimes children or common people are much better for that, because they are free minded to do it. They don't think something like Oh, I'm not doing this right or I don’t act like this! But, because they do spontaneous things and even then, slowly and by listening, step by step they can get the felling on how to move or to figure out the environment. It’s very important to get the feeling how it is inside. What is happening when I move and what's the feedback I got. ‘When I’m shouting in the wood it always come back to me’ principle is similar to electronic interactivity.You mentioned before William Forsyth… He is very connected with the city of Dresden…TD: Since 2006 he has his residency in Dresden. Something like a special cultural policy contract among the cities of Frankfurt and Dresden with the states of Hessen and Saxony. These four partners finance the Forsythe Company. Three or four times per year he comes to Hellerau in order to work with dancers.

Synchronous Objects by William Forsyth

What do you think about his data visualization project Synchronous Objects? I was really surprised when I saw it...TD: Oh, you mean his improvisation project… His method is more about archiving. His technology DVD is more about how the Forsyth method is working. He chose one of his performances One Flat Thing to show it on the internet. It’s totally complex documentation, notation and interpretation of his choreography and performance. It’s amazing, but it’s archiving.The other aspect that I haven't experienced yet is the use of technology in his stage work. I mean, I saw what he was doing with the sound manipulations. He was influenced by neuro-science and he took the idea of what is going on in neuro science to re-adapt it into his dance pieces.

Cynetart 2009, Automatic Clubbing taken from flickr

Where do you see CYNETart festival in comparison with the similar European festivals and what kind of opportunities artists can have within your framework?TD: I would say that we are really unique because we are really focused on this concept of performing arts combined with new technologies. We are not doing only exhibitions and public events like workshops, screenings and so. We are interested in the working processes not only in single, produced and ready for the market art piece.We want our guests to demonstrate their working processes and stuff like that, but at the same time to get in contact with the audience.This is really important. We like when these sides, artists and the audience exchange their position. That means, that we really like this participatory approach in installations, as well as the younger audience within our clubbing programme. OK, we have this unique location, die Festspiel Haus Hellerau where we can use these big halls for dance pieces or bigger installations. There are also small stages and smaller halls where we usually organize meetings, smaller exhibitions and so...

Johannes Birringer (c)

Our Call for Proposals is internationally recognized, it usually starts in December right after the festival is over, and what is also unique is our scholarship for new media art with an amount of 6.000 Euros. We also have a big grant project supported by the Ministry of Art and Science with an amount of 10.000 Euros. Of course, for our contests and awards we have a grant of 5.000 Euros. So, that means that we have a lot of money to spend, and we want to spend it on a quality programme. I mean, in comparison with the mayor media art festivals in Germany and Europe, like Transmediale, these sums are not so big...

Cynetart 2009, Automatic Clubbing taken from flickr

What do you think about low budget technologies, DIY technologies in the context of media art?TD: When you compare different motion sensing systems, you can find among them many really low budget projects, especially compared to motion capturing system which is really expensive and needs very sophisticated equipment. You can work with an average computer, the only thing that you need of those special equipments is a TV card or an observation cam, but if you spend maybe 5000 Euros, you can have it by your own.This is somehow the middle level, this DIY level and it will be used more and more, because technology is getting smarter and cheaper. We will have a generation that will be capable to do everything by their own. I think this will be the future!

Language Game by Kobakant (c)

Even in the context of Internet, the so-called digital culture or internet natives... I think there would be more and more projects specially designed for this kind of audience, also taking place only on the internet which would know to differ real present activity in the future. Then E-tribal art, and of course this RFID thing...I know that Johannes Birringer from Tirier University is doing infrared sensitive clothes. This is quite interesting from sevelar aspects, one thing is this possibility of connecting everything, but then the author must ask himself, what can we do with this multiple connectivity?Thanks a lot, Thomas!This interview was previously published on Personal Cyber Botanica blog
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TELEMATIC INTERACTIVE DANCE INSTALLATIONS & PERFORMANCES SIMULTANEOUSLY IN FOUR NET-CONNECTED EUROPEAN CITIES WATCH VIDEOS ABOUT THIS PROJECT 3 to 6 December 2009 03.12 - 20'00 Performance 21'00-23'00 - Installation 04.12 - 20'00 Performance 21'00-23'00 Installation 05.12 - 11'00-18'00 Installation 20'00-21'00 Performance 21'00-23'00 Installation 06.12 - 11'00-18'00 Installation SIMULTANEOUS SITES OF THE PERFORMANCES AND INSTALLATIONS: DRESDEN (Alemania): TMA - Cynetart - FestspielHaus Hellerau MADRID (España): REVERSO - MNCARS PRAGA (República Checa): CIANT - Animation Academy NORRKÖPING (Suecia): BITNET - Louis De Geer Concert Hall With the CYNETart Festival in 2008 the Trans-Media-Akademie Hellerau (TMA) together with their partners from Madrid, Norrköping and Prague launched the project »European Tele-Plateaus – Transnational Sites of Encounter and Co-Production«. This network of virtual environments is based on the conceptual and practical activities that the TMA has been pursuing for many years and will be supported by the European Union through the year 2010. The project aims at creating publicly accessible virtual sites of sound and vision. By providing a virtual environment these spaces allow sensory-physical interactions over long distances in realtime. The visitors’ physical activities are linked and embedded in a trans-local virtual environment. Thus, so-called hyper-sites emerge which integrate various locally significant visual and sound processes via the internet. The concept of Tele-Plateaus intends to encourage interdisciplinary and intercultural ways of thinking and working as well as new forms of cross-border communication and co-operation. Tele-Plateaus is an international initiative planned to run through 2010 with an aim to create publicly accessible networked audiovisual sites. The main objective is to make possible and support real-time sensory-physical interactions of people over long distances. Therefore, we work to establish a permanent network allowing for direct audiovisual real-time interactions between similarly configured public sites and performance stages across Europe. Tele-Plateaus is composed, controlled and structured by movements of people from different cities. Within these networked stages and sites people from Dresden, Madrid, Norrköping, and Prague (among the first connected cities) can dance and play together. They can simultaneously create pictures, sounds, and light effects by means of their own movements without operating any additional interfaces. The shared virtual hyper-site is based on the generation of data that is available for processing to all computers within a common network. Movement parameters (speed, spatial position, etc.) are captured and digitalised by camera-based motion system and exchanged between computers at distant locations with a technically similar configuration. At concrete sites the numerically coded movement parameters are creatively transformed into audiovisual outputs and processes. Tele-Plateaus ultimately provides accessible environments for live telematic artistic performances and other collaborative activities. The project is co-financed by Culture 2007 Programme of the European Union for the period 2008-2010. Project is led by TMA | Trans-Media-Akademie Hellerau (http://www.t-m-a.de/) in co-operation with the Hellerau - European Center for the Arts, and is jointly produced with CIANT Prague (CZ, http://www.ciant.cz/), REVERSO Madrid (ES, http://www.reverso.org/), and bitnet Norrköping (SE, http://bnp.se/). Project Partners:: REVERSO - Madrid - ES - http://www.reverso.org/ TMA - Hellerau- DE - http://www.t-m-a.de/ CIANT - Prague - CZ - http://www.ciant.cz/ BitNet - Norrköping - SE - http://bnp.s Media Partner:: Marlon Barrios Solano - www.dance-tech.net www.european-tele-plateaus.eu http://www.reverso.org/ETP-engl.htm Synopsis: ETP_body-spaces09 – Exploration of Near & Distance is an experimental performance of four dancers with simultaneous actions in Dresden, Prague, Madrid and Norrköping. The interactive environment is web-linked and divided into four parts. Each part is bound to explore the relationship between proximity and distance in different ways within net-linked virtual environments. – Part I: body-visiting of Madrid – Part II: re-body-spaces – Part III: bodies & languages – Part IV: body-instruments
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http://www.tanzplan-dresden.de/v2/en/the-tanzplan/concept.html Pdf In German!! http://www.tanzplan-dresden.de/v2/fileadmin/Aktuelles/Bewerbungsinformationen_2010.pdf Apply now for “Promoting young talent / Dance production 2010” by Tanzplan Dresden. Application deadline is September 15th, 2009. Production money of € 40.000 for two teams available. We are looking for interdisciplinary production teams to create a new piece for a dance evening at the semper kleine szene. The rehearsal period is April through June 2010 in Dresden. Contact Sabine Stenzel TANZPLAN DRESDEN c/o Palucca Schule Dresden - Hochschule für Tanz Basteiplatz 4 01277 Dresden Germany Fon +49.351.25.906-58 Fax +49.351.25.906-80 info(at)tanzplan-dresden.de www.tanzplan-dresden.de
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I am in Dresden for the Post Me New ID Forum, an event framed within the CY NET art_08. Last night was the opening and awarding to artists with a mild protocol with the presence of the minister of culture, many other officials and of course many artists... I was impressed by the beautiful and historically meaningful building where the festival is taking place: HELLERAU


See more information in The Project Gutenberg EBook of The Eurhythmics of Jaques-Dalcroze, by Emile Jaques-Dalcroze
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