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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 : http://cuerpoytecnologia.blogspot.com.es/ ;

HANGAR BCN

SSept. 20 / 12: 00 to 14:00 

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

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

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

ABTRACT 

Art, Body and Technology: an overview of current approaches from Latin America

By: Brisa MP (Chile)

The presentation aims to make a brief tour of the current state of the art of the production that articulates the human body and the technology in the fields of dance and performance. This tour offers a mapping of various levels of production, such as artists, work of art , theoretical production, collaboration networks, research in Latin American festivals and an analysis of the general situation in the region.

No doubt that the art-technology development in Latin America has been largely led by artists from the visual arts. In this scope we can see that the performative arts are not far behind, while its approach to science and technology has been happening slowly, it is now possible to recognize several projects developed in our region. These projects constitute a network of performances, educational and outreach that have shaped a recognizable set between dance-performance and technological mediation.

Moreover, the state of the art makes evident conceptual, aesthetic and economic problems, it proposes new ways of collaborative creation, instances of intercultural exchange and training that have allowed local development of projects pushing the boundaries of traditional Dance and Performance Art territories.

Meanwhile It is recognized that in Latin America a first approach to the relationship between dance and technology, comes from the videodance production, in which the initial scenic event moved to digital imaging and the screen. This is evident in several countries, making it visible a second state of the dance-performance and technology exploring more complex technical and aesthetic structures therefore presenting unequal levels of development in the countries of the region.

http://www.caidalibre.cl/

http://abierta.cl/isea2013/brisamp.html

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 anna.efraimsson@konstnarsnamnden.se 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).

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/dance-tech.net (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.

LITHIUM 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)