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PROTOBODY 1.0 by Brisa MP , develops international residency HANGAR from June to July with the support of  “Ventanilla abierta”  FONDART (National Fund for Culture and Arts, from the Chilean Government.

The residence offers two parallel lines of research; theoretical and practical. The theorical residence it is to continue the C + T MAP project, where she has mapped dance and technology artists and works in Latin America. This time she records the Catalan and Spanish artists working process.

At the practical phase, the project is researching and developing an autonomous reagent device for dialogue with the human body and produce specific gesture, recognizing the possible ranges of motion in the human-machine interaction. Explores new methodologies in the field of BT (BodyTechnology) production, from the combination of technical, scientific and artistic languages. In this context is to decipher the procedures of creation in BT that allow problematize the traditional structures of production stage work, where, as matter-body-art technology contaminate each other in the process of creating and learning; and expose the artistic research processes as exercises work.

Thus, PROTOBODY 1.0 continues her previous projects, carrying out research on human- device, focused on the moving body relationship, the modulation of body from technological devices, resulting interaction generate specific gestuality organized by the crossing of organic and artificial actuators. This project is part of thesis from Master Technology and Aesthetics of Electronic Arts, she developed at the Tres de Febrero National University (Buenos Aires, Argentina).

Work in progress PROTOBODY 1.0 : ;


SSept. 20 / 12: 00 to 14:00 

Protobody presentation [ project development and handmade robotic object  JMP.TC Model 1. DIY , open hardware ] 

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Download here

Feedback culture in artistic circles and practices is increasingly growing and changing; many methods have been developed, adapted and modified in order to essentially support the creative process and realisation of a work. We are seeing ever more formats that open up the rehearsal process to receive feedback and communicate with audiences in a manner that goes beyond the known artist talk. Also within artistic education contexts, the desire is mounting for more quality-structured feedback that can guide students in both a critical and reflective way through their creative endeavours. Feedback is everywhere, and as a means to reflect, gather and share resources and methods on this expanding field the “Laboratory on Feedback in artistic processes” was initiated within the frame of “Teachback” – one of the modules of the project "Life Long Burning"in collaboration with HZT Berlin (Inter-University Centre for Dance) and Uferstudios Berlin.

The lab, held between 17th  and 19th  January 2014, invited a group of people who shared an interest in the topic. Over the two and a half days the group practiced, articulated and discussed different approaches, aims and experiences of existing methods of feedback. The idea was that a number of feedback-methods should be applied and tried out within the lab, as opposed to merely remaining on a theoretical discursive level.

Some of the questions that the meeting focused on were: What are the pitfalls of feedback? Where does it go wrong or become enforced? How to avoid feedback being a fashionable thing to do? How do we learn, improve and widen our means of giving and receiving feedback? How is this implemented in art practice and education today? How can the expertise and practise of feedback be passed on and grow, and what differences does it make, giving and receiving feedback depending of the perspective you take: for example as an artist, as a student, as an educator or a curator?

Here you can listen to the audio documentation of each contribution during the lab:

Siegmar Zacharias

Charlotte Vandevyver

Emma Tricard

Nik Haffner

Inge Koks and Frederik Le Roy

Britta Wirthmüller

Allison Peacock and Charlotte Vandevyver

Frank Bock

Jörg Koslowsky

Eva Meyer-Keller

Dejan Sr


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Introducción: Arte, Cuerpo, Tecnología Aproximación a un Panorama Actual Latinoamericano" from Caída Libre on Vimeo.


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.

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Symposium of Practices

Practice Symposium

September 2012, 29 (14-20h) & 30 (10-16h)

@ The Swedish Arts Grants Committee (Konstnärsnämnden)

Maria Skolgata 83, Stockholm

Practice Symposium uses the academic framework of a symposium in a different way by proposing practices instead of papers.

International and Swedish practitioners in choreography and performance are invited to share practices with each other and outside participants:

Eleanor Bauer, Valentina Desideri, Juan Dominguez, Nilo Gallego, Rosalind Goldberg, Sandra Lolax, 

Stina Nyberg, Halla Ólafsdóttir, Petra Sabisch, Manon Santkin and Mårten Spångberg.

The event is open and free for professionals after sign up.

The Practice Symposium gathers practitioners in the field of choreography and performance to share practices with each other and the public. Set up as an encounter of different practices, the Practice Symposium uses the academic framework of a symposium in a different way by proposing practices instead of papers.

In the recent years the notion of practice has frequently occured within the field of choreography, especially when insisting on a development achieved through continuity, a specific form of producing work and sharing experiences as much as a way of challenging knowledge. A practice addresses a particular idea or problem through a process of repetition. Emerging from specific defining parameters, sometimes in view of method, practices produce a know-how that cannot be separated from the particularity of the practice. This particularity arises from its being implicated into a specific materiality: there is no idea without a material expression, as much as there is no knowledge unless it is practiced. Engaging in these experience-based and usage-oriented practices allows for a cooperative knowledge production, where learning, doing and thinking intertwine.

With the guiding idea that each practice produces an intrinsic knowledge by being practically involved in its doing, this symposium of practices invites practitioners in the field of choreography and performance to share their practices.

The two-day Practice Symposium (29-30 September 2012) will take place in the studios at Konstnärsnämnden in Stockholm and consists of two parallel panels of practices. Based on the idea that a practice is done repeatedly, the second day of the symposium will consist of the exact same panels as the previous. Thus, during the symposium, you can either choose to partake in all practices or to do some of them twice.

We invite everyone interested to take part in the Practice Symposium. It is favourable to join the whole weekend but also possible to take part in specific panels. A more detailed program will be published on the website soon.

In order to participate, please sign up by sending an e-mail to including name and a short statement of interest. Please wait for a confirmation.

 The Practice Symposium is hosted by Stina Nyberg, Zoë Poluch, Petra Sabisch and Uri Turkenich in collaboration with The International Dance Programme at The Swedish Arts Grants Committee (Konstnärsnämnden).

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An will be there!!



In recent years, technological innovations have given rise to a new field, dance technology. Populated by artist-practitioners, technologists, and theorists, this new area encompasses performance, research and development of video game technologies, motion capture experimentation, and dance for the camera. For some time, work in dance technologies has advanced without a recognizable critical dialogue in the United States.

This began to change in October 2009, when the World Performance Project at Yale, in collaboration with SLIPPAGE: Performance|Culture|Technology in residence at MIT, convened an international cohort of artists and scholars for a one-day meeting at Yale.  That event, “Emergent Global Corporealities: Dance Technologies and Circulations of the Social,” brought artistic creation, comparative media theory, and emergent technologies together with considerations of the social and corporeal.

This group reconvenes at MIT in April with additional participants for Version 2.0. “Dance Technologies and Circulations of the Social @ MIT” brings a dozen researchers to MIT to present their original media-focused research. The two-day symposium includes readings, demonstrations, and some small-scale performances, culminating in an anthology of writings to be edited by the conference convenors.

The symposium convenors are Thomas F. DeFrantz, Professor, Music and Theater Arts at MIT and Harmony Bench, Assistant Professor at the Ohio State University.

Confirmed Participants Include:
Johannes Birringer, Chair in Performance Technologies, Brunel University
Melissa Blanco Borelli, Lecturer in Dance and Film Studies, University of Surrey
Maaike Bleeker, Chair, Performance Studies, University of Utrecht
Ian Condry, Associate Professor, MIT
Scott deLahunta, Independent Artist, Berlin
Simon Ellis, Independent Artist, London
Jason Farman, Assistant Professor, Washington State University
Susan Kozel, Professor, University of Malmo
Petra Kuppers, Associate Professor, University of Michigan
Nick Monfort, Associate Professor MIT
Chris Salter, Associate Professor, Concordia University
Marlon Barrios Solano, researcher/on-line producer/ (New York/Geneva)
Jaime del Val, Independent Artist, Barcelona
Maria X (Maria Chatzichristodoulou), Lecturer, University of Hull


Th, Apr 21 | 7pm
Fri, Apr 22 | 8:30am–10pm
Sat, Apr 23 | 9am–10pm

*Open to the public. No registration required.

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lithium.jpg.scaled1000.jpgLITHIUM FERRUM  (2011)

Experimental music, dance and technology collaboration.

The Holy Mountain, The other side of oneself, Lithium, Ferrum.

Music: Joshua Cottam

Choreography/Concept/Visesthetics: Kate Pāvula  collab. Ali Brady

University Falmouth / Dartington College of Arts / 2011

LIVE STREAMING  :  Tonight, 8.30PM and 9PM (+00:00 GTM) (United Kingdom)

LIVE CHAT  : Ongoing Tonight, 8.30PM and 9PM (+00:00 GTM) (United Kingdom)

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THEM at Performance Space 122, New York City, October 21-30, 2010

Thursday, October 21 - Saturday, October 30, 2010
Wednesday - Saturday at 8PM, LATE SHOWS: Saturdays at 10PM
Performance Space 122 150 1st Avenue at 9th Street

Conceived by Chris Cochrane, Dennis Cooper, and Ishmael Houston-Jones
Directed by Ishmael Houston-Jones
Choreography improvised by the performers after a score by Houston-Jones
Music by Chris Cochrane
Text by Dennis Cooper
Lighting by Joe Levasseur
Advisor to the Production Jonathan Walker
Performed by Joey Cannizzaro, Felix Cruz, Niall Noel, Jeremy Pheiffer, Jacob Slominski Arturo Vidich and Enrico D. Wey

Ishmael Houston-Jones, whose intensely physical improvisations have been a staple of New York's contemporary dance scene for over three decades, sparked controversy in 1986 at Performance Space 122 with THEM. Made in collaboration with Dennis Cooper (text) and Chris Cochrane (music), this incendiary work addressed some of the many ways men could be with men. After a successful run of the work-in-progress at PS122 in 1985 the creators of THEM felt that the urgency of the AIDS epidemic demanded a presence in this piece about men with men. In the 1986 premier of the full-length version for six male dancers at PS122 Cooper read his own provocative words, and Cochrane played cacophonous electric guitar live; frequently violent and exhausting dance sequences, culminated in a horrific duet between Houston-Jones and an animal carcass on a dusty mattress. The production almost got PS122 shut down.

Through a reconstruction residency at the New Museum, the three creators have recast THEM with a new generation of male performers. Rehearsals of THEM at the New Museum culminate in a series of programs collectively titled THEM AND NOW, exploring the artistic impulses that propelled the creation of this "aggressive and vital" (Village Voice) performance work and its reconstruction 25 years later.

As part of PS122's 30th Anniversary Season, this ground-breaking piece is back and investigating its continuing relevance to dance and to social discourse in 2010.

Photo courtesy of Dona Ann McAdams

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Os informamos que el jurado formado por Jordi Lara, Thierry de Mey, Margaret Williams, Janine Dijkmeijer y Núria Font decidió otorgar el Premi Videodanza Barcelona dotado con 4000 euros a (premio ex aequo):


CONTINUUM, de Manon Le Roy

Podéis consultar el veredicto completo del jurado con la información del resto de obras destacadas en nuestra web

Recordad que la proyección de las obras concursantes en el Premi Videodanza continua en la sala de exposiciones del Institut del Teatre hasta el viernes 21 de enero.

Gracias a todos!

La organización de NU2’s
NU2’s associació per a la creació

NU2'S associació per la creació recibe la ayuda del Consell Nacional de la Cultura i de les Arts de la Generalitat de Catalunya de la Generalitat de Catalunya, del Ajuntament de Barcelona y del Institut Ramón Llull

// // // ENGLISH


The jury formed by Jordi Lara, Thierry de Mey, Margaret Williams, Janine Dijkmeijer and Núria Font decided to give the Videodance Barcelona Prize, with the amount of 4.000 euros to (shared prize):


CONTINUUM, by  Manon Le Roy

You can consult the complete verdict of the jury with the information of the rest of awarded works at our website

Remember that the projection of all the selected works will continue until friday 21 at the Institut del Teatre.

Thank you!
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Graduate Certificate in Screendance

The University of Utah College of Fine Arts is pleased to announce the creation of an interdisciplinary Graduate Certificate Program in Screendance.

As both a practice and an area of theoretical discourse, Screendance is burgeoning worldwide as evidenced by the proliferation of Screendance festivals, symposia, conferences and publications. Also known as dance for camera, cine dance, and video dance, this hybrid form, which in the past has been found at the margins of practice in the fields of dance and film, is now taking a central place as an independent art form. Through the advocacy of practitioners and scholars worldwide, the field of Screendance is articulating its richly intertwined art-historical roots as a means to understand present dance, film, digital media and art practices and how they intersect in a complex discourse of ideas about the body on screen. The certificate has been designed to meet the growing demand of dancers, choreographers, filmmakers and artists who are seeking a more in-depth experience in exploring the relationship between the moving body and the frame.

The Graduate Certificate in Screendance at the University of Utah is an interdisciplinary collaboration between the Department of Modern Dance and the Department of Film & Media Arts. This program provides professional level production courses with state-of-the-art equipment, movement and theory classes and the option for Certification in Final Cut Pro. The Screendance Certificate requires a two-semester on-site commitment.

For more information go to:

or contact
Program Director Ellen Bromberg

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As a new year feature we are honored to be able to stream the documentary Networked Cultures directed by Peter Mörtenböck and Helge Mooshammer, 2008 (105 min.) With an emphasis in translocal exchanges and collaboration Networked Cultures provides a filmic archive of practitioners from the fields of art, architecture, theory and activism talking about their collaborative work in the light of global cultural transformation. The film features conversations with Özge Açıkkol, Azra Akšamija, Ayreen Anastas, Ricardo Basbaum, Helmut Batista, Jochen Becker, Ursula Biemann, Sylvie Blocher, Stefano Boeri, Katherine Carl, Branka Ćurčić, François Daune, Igor Dobričić, Iacopo Gallico, Erden Kosova, Olga Lopoukhova, Margarethe Makovec, Philipp Oswalt, Kyong Park, Marta Paz, Tadej Pogačar, Marjetica Potrc, Oliver Ressler, Irit Rogoff, Marco Sančanin, Güneş Savaş, Florian Schneider, Pablo de Soto, Srdjan Jovanović Weiss, Eyal Weizman and Seçil Yersel. For more information on the Networked Cultures project see: You can also watch it the dance-techTV page on page or in the dance-techTV page in Livestream
Watch live streaming video from dancetechtv at
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for those one that does not know yetSARMA (based in Belgium)Sarma is an artistic and discursive VERY INTERESTING laboratory for criticism, dramaturgy and research in the field of dance and beyond. Sarma collects and organizes discursive practices. By compiling author based or thematically related text anthologies, published online on our website. But also by curating festivals, by providing dramaturgical assistance to performers, by organizing workshops, discussions, lectures, installations and research projects. Sarma is a breeding ground for artists and theoreticians to collaborate on shared problems and premises. Sarma aims for artistic work- and presentation formats that are inspiring to all.but Sarma is more than that: www.sarma.beand they are at the present moment collaborating with Workspace Brussels: a Brussels based organisation that aims at supporting young artists in research, creation, production and presentation of their projects. They do so by providing these artists with a working space, basic equipment, advice, and a platform for communication and presentation. WSB on it's turn is supported by Kaaitheater Brussels theater and Rosas-Anne Teresa De Keersmaeker dance company , and is embedded in a wide international network of affiliated SARMA+ Workspace Brussels= Working Title Festival #2 ( finishing 18th April)
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This ground-breaking work of scholarship explores convergences between performance and science through an investigation of new technologies that drive computer-mediated, interactive art. In tracing the evolution of digital performance within a particular history of engineering and theatre that now expands to a wide range of practices in dance, design, architecture, fashion, games, music, robotics, telematic performance, and "post-production"-theatre, the author focuses on interactive performance, installation and Internet art. Internationally known practitioners and their works are introduced to formulate provocative ideas on computation, complexity, emergence and self-organizing systems in contemporary peformance which are inspired by biology and biotechnology. Wide-ranging and richly illustrated essays uncover shifts that have occurred globally in the aesthetic understanding of performance within computer-augmented virtual and networked environments. The work of key artists, theatre/dance companies, and laboratories demonstrates how scientific concepts have influenced digital performance, and how performance relates to neuroscience, biology and the life sciences. Challenging common assumptions about embodiment and the digital, this study addresses how artists use artificial intelligence, machine learning, and sensing technologies not only to enhance the range of expression and visualization, but to bridge the gap between the work and its user. Paperback: 332 pages Publisher: PAJ Publications/New York (December 2008) ISBN-10: 1555540791 ISBN-13: 978-1555540791 List Price $ 24.95 Johannes Birringer is a choreographer and media artist; he directs the Centre for Contemporary and Digital Performance at Brunel University, West London. He is author of Theatre, Theory, Postmodernism; Media and Performance: along the border; Performance on the Edge: Transformations of Culture, and co-editor of Dance and Cognition.
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BRAINWAVE: Common Senses, NYC

February 16- April 19, 2008 Opening Saturday, Februrary 16, 2008 7-10pm BRAINWAVE: Common Senses responds to current advancements in neurological research by visualizing and investigating the brain’s capacity for sense perception, memory, emotion and logic. The artists in this exhibition redefine this research in a different way, abandoning literal representations of the brain and categorical analysis in favor of works that take, as starting points, elements from neuroscience and flipping these ideas on their heads. These works create an alternate discourse between art and science, encouraging the viewer to consider the brain not only as the center of human activity but as a site for interpretation. This exhibition presents the brain as a site for scientific and philosophical debates, for examining our relationship to the world – and for questioning our common sense. This exhibition is the second in Exit Art’s Unknown Territories series of exhibitions that explore the impact of scientific advances on contemporary culture and examine in particular how contemporary artists interpret and interact with the new knowledge and possibilities created by technological innovation in the 21st century. It follows Paradise Now: Picturing the Genetic Revolution, a landmark exhibition of art and biotechnology at Exit Art in 2000. The next exhibition is Corpus Extremus (LIFE+), curated by Boryana Rossa, an exhibition of biotechnology based artworks opening December 6, 2008. ARTISTS Suzanne Anker, David Bowen, Steve Budington, Phil Buehler, Andrew Carnie, George Jenne, Daniel Marguiles and Chris Sharp, Fernando Orellana and Brendan Burns, Jamie O'Shea, SERU, Devorah Sperber, Naho Taruishi, Dustin Wenzel Suzanne Anker (New York, NY) uses three-dimensional Rorschach tests, brain scans and images of butterfly wings to describe the organic complexity of the human brain. David Bowen’s (Duluth, MN) Swarm is an autonomous roaming device whose movements are determined by dozens of houseflies housed inside the device itself. Steve Budington’s (Burlington, VT) painting, The Candidate, critiques the political campaign by visualizing a candidate made entirely of ears listening to a constituency made of eyes. Phil Buehler’s (New York, NY) video, Windows of the Soul, questions the idea of madness through the eyes of 300 psychiatric patients. Andrew Carnie’s (Winchester, England) installation Magic Forest uses cyclical slide projections to depict an ever-growing ‘forest’ of neurons within a developing brain to show its data collecting capability. George Jenne’s (Brooklyn, NY) sculptural installation uses a variety of objects associated with adolescence, called ‘tokens’, set against a green screen to explore the brain’s ability to catalog various images and reference them with past experiences. Daniel Marguiles (New York, NY) and Chris Sharp (Milano, Italy) couple Kant’s Third Critique of Judgement and Stravinsky’s Rite of Spring with brain scan imagery to create a video of the stimulated brain. Fernando Orellana (Troy, NY) imposes his own brainwave activity during R.E.M (rapid eye movement) sleep on a robot in order to determine its navigation and behavior. Jamie O’Shea’s (New York, NY) Alvin is a realization of an interactive and electronic neural network constructed with physical hardware. Daniel Rozin’s (New York, NY) kinetic “mirror” uses tangible objects to pixelate “reflections” of persons or objects moving in front of it. SERU’s (New York, NY) Reodorant, a multisensory installation, is a memory-reactive device that mixes smell, sound, light and architecture. Devorah Sperber (New York, NY) uses hundreds of spools of thread to create a blurry, inverted image that, when viewed through the lens of a magnifying glass, becomes a precise rendering of the Mona Lisa. Naho Taruishi’s (New York, NY) single-channel video, Close Your Eyes, is meant to be seen ‘blindly’ with the eyelids acting as an internal projection screen. Dustin Wenzel’s (Ottawa, Canada) brass sculptures are brain-cavity castings of Great Whales.
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The Golden Viral: Leslie and Ly's

On the day of love, I stood on an old dirty couch and watched a Midwest diva rap about the powers of her shoulder pads and sweater appliqué. The low-budget big-impact show was all flash with projections, heavy electro beats complete with backup singers. It was the Leslie and Lys show at the Mercury Lounge in New York City, and it was sold-out: people dancing, laughing, singing along to her not-so-underground hits, and getting the chance to touch her red rouge cheeks. CDs, t-shirts and other crap were being sold near the front door. How did this happen? In a city of million dollar rat holes, how does an underground phenomenon emerge? Simple: she unleashed her shtick via the internet, exploiting her talent for visual art, music making, dance and performance. Well, the dancing is not going to make her a star, but her moves are fierce and funny.Her entrance that night:In front of skewed videos of chubby aerobic classes, dog grooming, and other weird 80s cultural ephemera, I felt like I was watching a genius. There were low tech effects, like a giant black sock to disguise her dramatic entrance, and the music was courtesy of her laptop, which sat right to the side of the stage. It was technological full disclosure, low and hi-tech. And she shakes and strokes her full-figure beauty/booty in a tight gold-lame confection…a space suit for her alien glamour. Again: nothing to hide. Nobody laughs at her, they dance with her. There were fans with gem-sweaters, called up on stage to get letters of gem-sweater authenticity and then dance: performance pop art without the pomp.It’s Americana from hell. But so lovely are Leslie’s talents that what could be simple kitsch becomes a sophisticated commentary on body-image, whiteness, celebrity and DIY technologies and culture: she didn’t name her CD ceWEBrity for nothing. And, it’s a shit load of fun.See this article about her formative gemness:
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