conference (22)

Also seeking submissions that consider dance, media and disembodiment....

Call for Papers: SLSA 2018 (Toronto) PANEL: The Disembodied Woman in Digital Art and Culture

“Invisible” is a word that haunts histories of the technologized body. From the popularity of the late-19th century magic trick, the “Vanishing Lady,” to the advent of photography, in which “the body itself appeared to be abolished, [and] rendered immaterial” (Gunning), and the invention of the television (another kind of ‘body’), which Jean Baudrillard writes, “is now intangible, diffuse and diffracted in the real." The threat (and thrill) of this concept is magnified in the digital age, where the body is both immaterial and networked, and where the inscrutability of computational architecture hides itself behind pretty software interfaces that masquerade as perfectly clear and easy to understand.

That the vanishing lady is a lady is no accident. In the new media era there is a simultaneous turn towards invisibility (omnipresent surveillance; dispersed identities) and a return to the material world of things (as evidenced by the recent academic trend towards speculative materialism and object oriented ontology). In this oscillation between absence and presence, it is important to ask: which objects get to be seen and which are made to disappear? The female body seems to be one object that is always in the process of dematerialization (Apple’s digital assistant Siri and CGI Instagram model Lil Miquela, for example).

In keeping with the SLSA conference theme (“Out of Mind”), I hope to construct a panel that both challenges Cartesian dualism (in which the rational is privileged over the corporeal) and demonstrates its problematic perseverance as a structuring principle in art and design. I invite submissions that take up the following questions: Where does the organic human body exist (or persist), especially in relation to “bodies” such as avatars, digital renderings and filmic or animated traces? What are the procedures that construct and govern mechanical and digital bodies, and do these procedures differ substantially from those that govern organic bodies? How do lived conditions of difference such as race and gender factor into digital representations of the body?

I am particularly interested in submissions that explore representations of the female body in relation to:

-       (Dis)embodiment

-       VR / AR (and other immersive media)

-       Digital and algorithmic choreography/dance

-       Visual and screen media

-       Posthumanism

-       Kinaesthetics and sensation

-       Interactivity

-       Affect and emotions

-       Interfaces and software

-       Mind-Body Dualism

-       Sound studies

Abstracts of 250 words should be sent to along with a short bio by April 1st.

NOTE: This is a call for papers for a panel to be submitted for consideration for the SLSA conference in Toronto, Canada, November 15-18, 2018. The conference theme is “Out of Mind.”  The SLSA general call for papers, as well as more information about the conference, can be found here:

Read more…

Recordings are available via dance-tech on Vimeo:


Organized by the Fritz Thyssen project “Collective Realization – The Workshop as an Artistic-Political Format” (Institute for Theatre Studies, Ruhr University, Bochum) in collaboration with the ICI Berlin and the PSR project “Our Dance” (Heizhaus/Uferstudios GmbH) in Berlin. Funded by the Fritz Thyssen Foundation and the Berliner Senatsverwaltung für Kultur und Europa.

Concept and Organization: Kai van Eikels and Stefan Hölscher.

Speakers: Zahra Ali Baba, Julia Bee, Sabeth Buchmann, Alice Chauchat, Bojana Cvejić, Diedrich Diederichsen, Gerko Egert, Konstantina Georgelou, Aernout Mik, Wadzanai Motsi-Khatai, Mila Pavićević, Hanna Poddig, Yvonne Rainer, Juli Reinartz, Xavier Le Roy, Heike Roms, Anne Schuh, and Sebastian Voigt.

Workshops and artistic presentations by: Jeanne-Jens Eschert, Bella Hager, Anne Mahlow, Lea Martini, Nana Melling, Aernout Mik, Marta Popivoda, and Doris Uhlich.

Assistant: Miedya Mahmod.
Graphic Design: Zahra Rashid.


Recordings are available via dance-tech on Vimeo:

Read more…

There is an interesting conference going on in Stockholm at the moment 14.-16.10. The schedule can be found here: So far, confirmed speakers are: Adrian Heathfield, Mette Ingvartsen, Mårten Spångberg, Bojana Kunst, André Lepecki, Paz Rojo, Samlingen (collective of choreographers: Amanda Apetrea, Nadja Hjorton, Stina Nyberg, Halla Ólafsdóttir and Zoë Poluch), Jefta van Dinther, Florentina Holzinger, Jens Östberg, Ivana Müller, Mette Edvardsen, Francois Chaignaud, Manuel Pelmus, Cecilia Bengolea, Andros Zins-Browne, Jonathan Burrows, Hooman Sharifi, Poste Restante, Charlotte Vandevyver, Ofelia Jarl Ortega, Siegmar Zacharias, Benjamin Vandewalle, Antonia Baehr, Myriam van Imschoot and Erna Òmarsdóttir. They are live streaming the event here since this morning:

Read more…




Tuesday, 2 June 2015
MEG Musée d’ethnographie de Genève
Boulevard Carl-Vogt 65-67, Geneva

More information:

You can watch the broadcast here:

“Paradoxically it is only when we recognise that we are not completely controlled by norms, that we become free to radically deconstruct and change them.“
Judith Butler

Ever since the beginning of the 20th century Dance History can be told as a continuous questioning of aesthetic and social normativity. However, contemporary dance is still defined by conventions and standards that mirror prevailing social norms. This becomes clear when people with a disability enter the stage – and especially when they do not.

At the fifth IntegrART symposium, artists and experts will focus on creating and recreating “normality” in dance and society. By looking through the lens of the history of culture and dance to analyse this phenomenon, the symposium aims to find aesthetic and ethical alternatives to the tyranny of the “neutral”.

The symposium will explore the following questions (among others):

  • What lies behind the concept of “normality”? How did it develop and how does it manifest itself in the age of “diversity”?
  • What part did norms, particularly norms regarding the body and people’s perceived abilities, play in the 20th century of dance? Which rules determine what is dance and who is a “real” dancer today?
  • What strategies can be used to question, undermine and potentially overcome the “dictate of normality” as an exclusion mechanism?
  • What are the different artistic practices of dancers with a disability and how do they relate to current standards and conventions in professional dance?
  • What perspectives does this offer for dancers with a disability in particular and dance in general?

Artistic practices are the starting point for our reflections at the fifth IntegrART symposium. The programme includes presentations and discussions, artists’ videos, short dance pieces, performances, demonstrations and workshops.

Concept: Marcel Bugiel
Collaboration on the concept: Saša Asentic

An international symposium by Migros Cultural Percentage. The 2015 event is organised in partnership with the City of Geneva as part of Out of the Box – Biennale des Arts inclusifs. Supported by the Federal Bureau for the Equality of People with Disabilities FBED, the Swiss Arts Council Pro Helvetia, Corymbo Foundation and Migros Geneva.

Read more…

Original can be found here

Call For Proposals

5th IDOCDE Symposium on Contemporary Dance Education

July 28 - 30, 2017 at ImPulsTanz Vienna International Dance Festival


why compromise. mind the dance.

promoting actions and creative visions in a precarious world


Informed by the developments in the world of socio-politics – and the cultural attention that goes along with it – we at the IDOCDE headquarters decided it was time to frame our annual Call for Proposals as a Call for Action. This decision is to address the theme of the 5th IDOCDE Symposium.

The theme of the 5th IDOCDE Symposium – why compromise. mind the dance – is different from the previous themes in that it does not only ask you – the dance educator, artist, student, cultural worker, and the participant in the making of The World – to look inwards and reflect on your developing practice, share your reflections and by doing so enrich the experience of others. The aim of this year’s Symposium is also to ask you to add an outward-looking reflection whilst asking the question: what is my practice actually doing to the world – given my experience of managing personal pedagogic and artistic practices? How are my pedagogic and artistic decisions shaping the world of others – my students? My peers? And what, in particular, is the effect of the decisions I am not making?

(The time for mulling around is up.) 

Assuming that compromise is somewhat a part of everyone's daily life, we ask: What do you actually do when you compromise? What are the reasons for which you compromise? And how long do you think it will be possible for you to continue that practice?

We are not interested in asking you to imagine a world without compromise. This is not a utopian exercise. What we are inviting you to is, thinking thoroughly about compromise. And consider what kind of world your practice is creating. What kind of institutions, what kind of organisations, what kind of ecosystems, what kind of politics, what kind of families. 

Instead of stepping into the trap of ‘judge-mentality’, we would like to ask you to join us, think together with us; to pose sincere, straightforward, and challenging questions. In short, we would like to ask you to approach this Symposium with the clarity of body-mind you may have never dared to engage with before in a public space, and by doing things you may have never dared to do before in a public space. In other words, we would like to ask you to approach this challenge – ‘as a human being’, an experienced participant in an alliance of individuals, artists and educators. 

We hope this call is inspiring and exciting; resonating with your priorities, with your practices, with your interests, and with your passions for dancing – if so send your proposal today! And help us bring about a Symposium that will not only enrich, but that will also move – move participants to action. Help inspire, inform, and support our community by exposing your experiences: Your physical practices, your pedagogic practices, your theoretical practices, your artistic practices. Your public thoughts, your intimate thoughts, your affirmative thoughts, your challenging and critical thoughts.

Help encourage the community by joining this alliance. Participate at the 5th IDOCDE Symposium on contemporary dance education and so – help make a difference!

Proposal for “why compromise. mind the dance.” and their formats* may include the following, but are not limited to these:

Emerging practices in the oscillation between art-making and education

Examples you find within you or around you, or in other landscapes beyond dance as a response-ability to the world around you


Philosophy in and of dance

Political actions

Historical context(s)

Proposals that address the how we are being with each other right now right here






Performative actions

Hang outs


Mediated spaces (virtually and non-virtually)

*We invite you to challenge (or not) the ‘usual’, the ‘conventional’, the ‘traditional’ formats of public presentations and sharings, teachings by staging your sessions in a way that aligns the staging to your thinking and ‘the doing of your thinking’. In other words, we invite you to think ‘outside the box’. This might be the opportunity for some to question or problematize the assumed role language has in enabling communication. What of your thinking would best be communicated in words, and what of your thinking would best be communicated in experience, performance, movement, action, etc?


IDOCDE invites contemporary dance practitioners, dance and movement educators, researchers, theoreticians and other practitioners contributing to this field

to submit proposals for the 5th IDOCDE Symposium!

All practical or theoretical proposals centered on aspects of teaching, researching or practicing dance, in relation to the proposed theme, are being considered.

Formats might range from teaching a class and sharing reflections, hosting a lecture demonstration, talk or discussion, to more uncommon or experimental formats, or anything in between.

Propositions of a length up to 2 hours (ideally 90 minutes, longer or durational propositions will be considered whenever possible), individual and team proposals from teachers all over the world and the IDOCDE community are warmly welcome. 


Please fill in the PROPOSAL FORM by creating a new idoc under your profile and add it into the Symposium Folder before February 15th, 2017.

  • If you feel inspired but you’re unsure of how to frame your thoughts within the parameters given by this form – please contact
  • Complete the proposal form on and send a copy to
  • For technical issues/ idocde website, please contact
  • Deadline for proposals: February 15th, 2017


Your Symposium and REFLEX project team:

Defne Erdur, Eszter Gál, Pavle Heidler, Kerstin Kussmaul, Lieve de Pourcq, Martin Streit 



The IDOCDE symposium is part of the EU program REFLEX EUROPE.

REFLEX researches and uses documentation as a tool for reflection in order to improve the teaching and to increase the impact on the learners in contemporary dance.   

For further details head over to

Read more…
International Workshop on Movement and Computing (MOCO'16)
July 5-6 2016, Thessaloniki, Greece
MINES ParisTech, France
Paris 8 University, France
University of Macedonia, Greece
Aristotle University of Thessaloniki, Greece
Following on from the two previous successes of the International Workshop on Movement and Computing (MOCO’14) at IRCAM (Paris, France) in 2014, as well as MOCO’15 at Simon Fraser University (Vancouver, Canada) in 2015, we are pleased to announce MOCO'16, which will be hosted in Thessaloniki, Greece. MOCO'16 will be organized by MINES ParisTech, (France) in co-operation with the Paris 8 University (France), the University of Macedonia, Thessaloniki (Greece) and Aristotle University of Thessaloniki (Greece).
The vision of MOCO'16 is to bring together academics, researchers, engineers, designers, technologists, technocrats, creative artists, anthropologists, museologists, ergonomists and other practitioners interested in the phenomenon of the symbiosis between the human and the creative process, e.g. dancer-digital medias, musician-instrument, craftsman-object etc. This symbiosis takes the form of an interactional and gravitational relationship, where the human element is both a trigger and a transmitter, connecting perception (mind/environment interaction and cognition), knowledge (theoretical understanding of a process) and gesture (semantic motor skills).
MOCO'16 invites researchers that have experiences of capturing the combined key elements of perception, knowledge and gesture/movement. MOCO'16 will be of interest to artists who work on the elucidation of the intersection between art, meaning cognition and technology by unlocking the hidden components in human creativity. The workshop also provides a forum for industrial partners, for whom the movement and gestures of the workers/operators consist of key elements in terms of ergonomics and health, to see and present state-of-the-art technologies.
A key feature of the MOCO'16 Workshop will be to open some of its demonstrations and artistic activities to the public-at-large in order to provide this extended audience with the opportunity to be informed about current scientific issues and topics by experts in an informal setting. 
​​Suggested Topics
* Movement in Digital and Performing Arts, which focus on the use and interaction between arts and movement in the following domains: music, dance, song, graffiti, painting etc..
* Technical and Craftsmanship Gestures, highlighting the importance of gestures in the professional context, whether technical or cultural.
* Interaction, Communication and Design of User Experience, which put the emphasis on gestures and movement as interfaces between humans and machines.
* Analysis and Modelling, centred on the use of mathematical, statistical or methodological tools for a better understanding of gestures and movement.
These topics overlap and are in no way exhaustive, so we also welcome contributions focusing on other areas, with titles which might include any of the following keywords:
* Finger-based interaction
* Embodied and whole body interaction design
* Professional movement and gesture
* Movement analysis and analytics
* Movement expression in avatar, artificial agents, virtual humans or robots
* Sonification and visualization of movement and gesture
* Modeling movement, gesture and expressivity
* Sensori-motor learning with audio-visual feedback
* Motion-driven narrative
* Dance and technology
* Movement representation
* Embodiment and embodied cognition
* Mediated choreography
* Mechatronics and creative robotics
* Movement in affective computing
* Music and movement
* Somatic practice and design
* Dance and neuroscience
* Vocal tract movements in singing voice
* Design for movement in digital art
* Movement computation in ergonomics, sports, and health
​​Participation in the workshop
The workshop is an opportunity to present a research or study or details of collaborative work. Participants will have the opportunity to offer a presentation of the results of their research on one of the themes of the workshop and to interact with their scientific/ artistic peers, in a friendly and constructive environment.
If you are interested in offering an oral presentation of your work, please submit a paper and/or a demo and/or a poster. 
The submission categories are:
* Long paper with oral presentation (8 pages maximum) 
* Research note with oral presentation (4 pages maximum)
* Extended abstracts with poster presentation (2 pages maximum)
* Demonstration (one of the above papers (2 pages minimum + Demo proposal form).
All submissions should be in pdf format and should use the MOCO’16 template – adapted from ACM SIGCHI template 
It is possible for participating authors to submit a demonstration proposal in addition to their regular paper submission by completing the Demo proposal form and sending it along with their submission. Together with the demo proposal form, authors have to provide a link to a video about their work. The demo proposal form is mandatory for all demo submissions and must include details about technical set-up and space requirements.
Online submission: All submissions must be made through the Open Conference System (OCS)
All submissions must be anonymous and will be peer-reviewed. The MOCO proceedings will be indexed and published in the ACM digital library.  
​​Important Dates
Submission deadline for Papers & Demos extension : ​1 March 2016 (5:00pm GMT+2)
Notification: 20th April 2016
Early bird registration: 30th May 2016
Early program: 10th June 2016
University of Macedonia
156 Egnatia Street, GR-546 36 Thessaloniki, Greece
Aristotle University Research Dissemination Center
3rd September Avenue, GR-546 36 Thessaloniki, Greece
​​MOCO Steering Committee
 * Thecla Schiphorst, SIAT, SFU, Vancouver, Canada
 * Philippe Pasquier, SIAT, SFU, Vancouver, Canada
 * Sarah Fdili Alaoui, UPSud, INRIA, Ex-SITU, Orsay, France
 * Frederic Bevilacqua, Ircam, Paris, France
 * Jules Françoise, SIAT, SFU, Vancouver, Canada
Contact email:
​​MOCO'16 Organizing Committee
​​* Sotiris Manitsaris, General Conference Chair, MINES ParisTech, Paris, France
* Leontios Hadjileontiadis, General Scientific Chair, Aristotle University of Thessaloniki, Greece
* Jean-François Jégo, General ​​Artistic Chair, Paris 8 University, France
​* ​Vincent Meyrueis​, General ​Demo Chair​, Paris 8 University​, France
* Athanasios Manitsaris, Local Committee Chair, University of Macedonia, Thessaloniki, Greece
Contact email:
Cordialement | Regards | Με τιμή,
Dr. Sotiris Manitsaris

Senior Researcher | Research Project Leader
Centre for Robotics | MINES ParisTech | PSL Research University
A : 60, boulevard Saint Michel | 75272 Paris cedex 06 | France
T : +33 01 40 51 91 69 |  M :
     b3IEUfHjaQo71mPaPsdFb0U08EeUpPIfFobeV7-L_d4MAQPEiYzjCyy2XHY339E6Rvq0kiGDd-nHmiTB8vKeFM_ZXiK1yVLCvp9wowTt0TZRyDjUxvVntOrQlqHGD49yMqfFhTxY3xHOfdziowEFTtFAG-THVdbvi7QjmO4O_9bk6lJFNlIJI612XY80SlMWrZzpI8Qke9A-n_A=s0-d-e1-ft#%3Ca%20href=" width="96" height="73" class="CToWUd" />       uc?export=download&id=0B9te7A7ajqqwaTZ2M21PT0lpbzQ&revid=0B9te7A7ajqqwb1NTQUJsb0NzVGxuelM1VW5paFhGaXNvMENvPQ
Participate at MOCO’16
3rd International Workshop on Movement and Computing
5-6 July 2016 | Thessaloniki | Greece
The CfP is now open!
Read more…

online event at

March 21–22

– Launch of e-book 'Water Views: Caring and Daring' with editorial team and guest authors
– Meditation for water with renowned guest singer from Chennai, India
– Balance-Unbalance Conference launch with its founder Ricardo Dal Farra, film screening & performances

SESSION 1 – your time:

SESSION 2 – your time:

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

E-book is available for free download in its entirety and by individual chapters.
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Table of Contents
1. Opening - performances: Ulay, Jason Lim and online-performers
2. Voice of the Future - youth projects: performances, conservation
3. Activism, Art & Science - projects catalysing change at many levels
4. Art & Science - interdisciplinary dialogue and interaction
5. Hydrology – Past & Future - from India, Greece, Tunisia, California and
6. Conservation & Transmission - water rights, festivals, cultural
heritage and museums
7. Care & Dare - water values re-envisaged by community groups
8. Performance - live art, outdoor actions & online-performances designed
Waterwheel’s creative collaboration interface ‘the Tap’
9. Hydrosonics - a sound art festival hosted at NYU by Ear to the Earth

Read more…
International Workshop on Movement and Computing (MOCO14)
> Intersecting Art, Meaning, Cognition, Technology 
June 16-17 2014, Paris France
Ircam - Centre Pompidou
MOCO is the first International Workshop on movement and computing. MOCO aims to gather academics and practitioners interested in the computational study, modeling, representation, segmentation, recognition, classification, or generation of movement information. We welcome research that models movement, technology and computation, and is positioned within emerging interdisciplinary domains between art & science. We invite participants interested in exploring how movement experience can contribute to computational knowledge through movement modeling and representation. The workshop references the challenge of representing embodied movement knowledge within computational models, yet it also celebrates the inherent expression available within movement as a language. While human movement itself focuses on bodily experience, developing computational models for movement requires abstraction and representation of lived embodied cognition. Selecting appropriate models between movement and its rich personal and cultural meanings remains a challenge in movement interaction research. Many fields, including Interaction Design, HCI, Education and Machine Learning have been inspired by recent developments within Neuroscience validating the primacy of movement in cognitive development and human intelligence. This has spawned a growing interest in experiential principles of movement awareness and mindfulness, while simultaneously fueling the need for developing computational models that can describe movement intelligence with greater rigor. This conference seeks to explore an equal and richly nuanced epistemological partnership between movement experience and movement cognition and computational representation.
MOCO will bring together people working in interdisciplinary intersections of Human Computer Interaction, Computer Graphics, Machine Learning, Artificial Intelligence, Robotics, Affective Computing, Cognitive Science, Neuroscience, Psychology, and Artists from Media Art, Choreography, Composition, Dance and Design. The workshop aims at promoting scientific and artistic collaborations within this inter-disciplinary boundary. It will offer opportunities to disseminate emerging research works through presentations, demonstrations, and group discussions.
= Keynote Speakers
  * David Kirsh, Professor at University of California San Diego
  * Norman Badler, University of Pennsylvania.
= Suggested Topics
  * Expressive movement-based interaction
  * Machine learning for movement 
  * modeling movement qualities
  * Gestural control
  * Movement generation 
  * Movement and sound interaction
  * Sensori-motor learning with audio/visual feedback
  * Embodied cognition and movement 
  * Visualizing movement 
  * modeling kinesthetic empathy 
  * Somatic practice and design 
  * Whole-body interaction
  * Expressive movement analysis and synthesis
  * Design for movement in digital art 
  * Semantic models for movement representation
  * Laban Movement Studies and computation
  * Dance and neuroscience
  * Biosensing and movement
  * Movement expression in avatar, artificial agents, virtual humans or robots.
  * Music and movement
= Participation to the workshop
The workshop is an opportunity to present a research or a collaborative work. Participants will have the possibility to make a presentation of the results of their research on one of the themes of the workshop, and to interact with their scientific, artistic peers, in a friendly and constructive environment.
If you are interested in an oral presentation of your work with an optional demonstration, please submit a paper. 
= Submission date and format
Technical papers with optional demo, 4 to 6 pages: 15th February 2014.
Notification 16 March 2014.
All submission will be peer-reviewed.
Please use the ACM template (alternate style):
All submissions must be done through EasyChair: 
= Venue
Ircam - Centre Pompidou, 1 Place Igor Stravinsky, 75004 Paris, France,
MOCO14 will be  co-located with the Manifeste Festival  
= Workshop Chairs
  * Frederic Bevilacqua, Ircam, Paris, France
  * Sarah Fdili Alaoui, SIAT, SFU, Vancouver, Canada
  * Thecla Schiphorst, SIAT, SFU, Vancouver, Canada
  * Philippe Pasquier, SIAT, SFU, Vancouver, Canada
  * Jules Françoise, Ircam, Paris, France
Contact email:
= Local Organization Committee
> Ircam - STMS joint research unit with CNRS and Université Pierre et Marie Curie - Paris
  * Sylvie Benoit, Ircam, Paris, France
  * Frédéric Bevilacqua,  Ircam, Paris, France
  * Eric Boyer, Ircam, Paris, France
  * Emmanuel Fléty, Ircam, Paris, France
  * Jules Françoise, Ircam, Paris, France
  * Norbert Schnell, Ircam, Paris, France
  * Diemo Schwarz, Ircam, Paris, France
  * Hugues Vinet,  Ircam, Paris, France


Read more…

4th modul-dance conference at Tanzhaus NRW

4th modul-dance conference What do you want to share with others?Tanzhaus NRW Düsseldorf4-6 September 2013

Three years after the EU project modul-dance has started the directors of almost all dance houses from Europe and more than 50 artists and dance companies meet at Tanzhaus NRW in Düsseldorf. The modul-dance conference concentrates at perspectives of networking and internationally based collaborations. Planned as an “open space”, the conference features a program of lectures, thematic discussion panels, lecture demonstrations, presentations, showings and an ongoing forum. The program is completed by evening performances of modul-dance artists, curated by Tanzhaus nrw.

Click on here to discover the complete programme.

Read more…

Los Angeles: Congress on Research in Dance

Looking for TWO DANCERS  - to accompany my performative lecture presentation

on April 20, 2013, between 3:30 and 5pm on the panel of ‘Tempo and Tactics’ to be presented at the Conference of the Congress on Research in Dance "Tactical Bodies: The Choreography of Non-Dancing Subjects".

Conference Location: UCLA, Glorya Kaufman Hall - April 19–21, 2013

In my lecture I will reference the choreography of L. Chétouane’s ‘Sacré Sacre du Printemps’, its intentions and relation to contemporary theories of philosophy and physics. In cooperation with my theory based performance, that regards speech and dance in this case as complementary, I am looking for two trainees who perform simultaneously movements that follow the parameters that are drawn from Chétouane’s “space measuring” choreography.

Please note this is not a recreation of the former work but a transformation and improvisation of its movement type onto the actual situation of presentation.

The method, visual material and possible rehearsal can be discussed via email/skype or in person a few days ahead of the event.

This commission involves:
- Performance: about 20 to 30 min on April 20th, scheduled to be between 3:30 - 5pm.
- Advanced meeting plus rehearsal some days ahead (according to dancer’s schedule)

- Honorarium.

Those interested, can be provided with some online video material to get an idea. Though I will arrive in L.A. a few days early to the conference, I would plan to be in contact before, for discussion, setting up working meeting and possible rehearsal.

 If you are interested please contact me as early as possible at:

Read more…

Both WDA members and non-members are invited to submit proposals for presenting dance works in performance, presenting scholarly research, holding a panel discussion, conducting a class, or leading choreographic labs.

With Evolve + Involve: Dance as a Moving Question… as the focal point of the event, WDA-A encourages broad investigations into the following questions: How is dance evolving in the 21st century? How are we as artists, educators, and researchers engaged with these emerging developments? With whom and how will we be involved as new practices emerge? How might these new engagements and involvements open further questions for dance’s future? With these questions in mind, we urge participants to propose new possibilities for the many different modes of presenting, experiencing, producing, and teaching dance. Proposals need not be limited to or by the Conference and Festival’s theme, which should be considered as a catalyst for discussion rather than a restraint.

World Dance Alliance – Americas (WDA-A) is delighted to announce our 2013 Conference and Festival will be held July 29 – August 4, 2013 at the Scotiabank Dance Centre in beautiful Vancouver, BC, Canada. This event is hosted by WDA-A in conjunction with the 2013 Dance Critics Association Conference with support from Texas Woman’s University Department of Dance, University of Wisconsin-Madison Dance Department, and the Dance Centre.

For more information or to submit a proposal, visit:

Read more…

Between the Seas Festival

New York City, August 29th- September 4th  2011


Join us in celebrating contemporary Mediterranean culture!



Between the Seas Festival is organized for the very first time in New York City from August 29th to September 4th 2011 at the Wild Project theater space in the heart of the East Village. The festival seeks to engage performing artists and researchers from the Mediterranean and Mediterranean diaspora with the following goals:

-       Share with New York City audiences the vibrancy and diversity of contemporary cultural production from the Mediterranean, aspects of which often remain inaccessible and under-represented in North America

-       Encourage exchange and future artistic collaborations between NYC-based and Mediterranean-based artists

-       Contribute to the examination of Mediterranean identity/ies by encouraging discussion and exploration of the region’s commonalities and differences as manifested in arts, history, culture, geography and politics

-       Generate interest and debate over Mediterranean identity and culture, envisioning the region’s potential as a model of cross-cultural exchange beyond polarizing and homogenizing discourses.

The festival is produced by Les Manouches Theater Company with the collaboration of distinguished scholars, theater practitioners and festival managers from the US and Europe.  


We now invite submissions for artistic performances [music, dance, theater] and scholarly papers from emerging and established artists, researchers and academic practitioners. The deadline for submissions is March 30th 2011. Please see for information and submission guidelines in each category.For information email

Read more…

Dance USA “Crossing Borders” Conference was held in Washington,DC at the Ritz Carlton Hotel in Arlington,Virginia (suburb of Washington, DC) June 16-19, 2010. The following comments are written by Maida Withers and submitted to Dance Tech-net blog, June 18, 2010

Day One (Wednesday): The opening night.

Maida Withers Dance Construction Company performed a site specific work, Collision Course, for the opening gala for the Dance USAConference, Crossing Borders, at the House of Sweden on the PotomacRiver, Washington, DC. The dancers, Anthony Gongora, Giselle Ruzany,and Nate Bond wore pillows secured on various parts of their body withpackaging tape. Many free pillows werescattered on the lawn. Dancers proceededup the grassy knoll to press themselves along the full-wall glass windows ofthe beautiful House of Sweden. Conference participants were inside the building watching as the dancerspressed their bodies like graffiti along the glass wall. Dancers proceeded to dance freely once theymoved off the glass wall and tumbled down the grassy knoll. The dance concluded with dancers diving ontopillows as they were thrown into the air and crashing to the ground. Collision Course is a site dance that takeson different aspects based on intention and location. Jane Franklin and Daniel Burkholders groupsalso performed.

The food was excellent and the company for the gala very nice and diverse with people from all parts of the USAand abroad. Severalartists/managers were there from Ireland.

Day Two (Thursday):

Attendees broke up into discussion groups/forums in the morning. I attended the session withArtistic Directors with budgets under $300K. It was a very diverse group from directors who had no staff positions toorganizations with budgets over one million dollars. Each member stated what concern they had atthis time. The group leader directed us,then, in our discussion to issues suggested: staffing, boards, touring, and many other management issues related tosurvival. It was a productive meetingwith a somewhat limited agenda that seemed to center on management valuesprimarily. The larger budgets seemed tobe related to schools connected to the Companies or education programs. Compared to the 1960s there seems to be agreat deal of money available to the dance companies (beyond tickets at thegate) such as $30,000 or more from cities or county arts agencies, etc. Several commented on the challenge tomaintain artistic focus on the dance works in this survival process ofdiversification. Dancers always have a good time when they get together....certainly that was true in this case.

It was my pleasure to attend two session on International aspects of dance today.

During the first session, Frank Hodsoll, chaired a committee with cultural representatives from Japan,UK, Mexico,and the USA. Each panelist presented the governmental/nongovernmental approach to international exchange. As a USAcitizen/artist who is mostly interested in international culture exchange, I am hopeful that there will be some development in culturaldiplomacy supported by the US Government/Embassies soon. With the demise of the USIA the USAcontinues to struggle with a systematic way of engaging American artistsabroad. More direct discussion ofparticular programs (Cultural Envoy, etc). will take place on Friday at theconference.

The second international session raised the question of the view of American (United States, actually) dance from abroad. There was a panel led the Chair of the National Endowment for the ArtsInternational Programs with panelists from Mexico,Germany, and Spain. The topic is a worthy one but also achallenge. Mexicospoke about the extensive influence of Limon, Sokolow and others in Mexico. Mexicohas a formalized international program with four regions where a company isable to apply to tour there. Spainand Germanyindicated the recent lack of interest in dance in the USAand the inability to bring companies/dancers from the USA(costs/aesthetics). The United States isa long way away when European countries are so close. However, in Europe it seemed there is also about a lack of interestin what American (United States) dance is doing, it appeared to me. In addition, if the U.S. Embassies do notsupport American artists, there is not much chance of selection in Europe. One audience member indicated “the elephantin the room” was the rude treatment that many American artists receive whenthey are in Europe. Some agreed that this was present for them as well. I thought the conversation in total was toooriented toward Europe/U.S. exchange and not global enough. Also, I feel the idea of an individualcreating new/original work in a democratic process that is free of governmentalcontrol has been embraced globally. Perhaps this means there is not a “dominant” nation in modern orpost-modern dance at this time. Whyshould there be? I recognize this is asomewhat “democratic” perspective, but if there is a U.S. value,individual freedom of expression in dance with no government intervention wouldbe expected. There were many differentvoices heard in the brief one and one-half hour discussion. What was lacking was a two-way perspective ofhow dancers and governments are viewing each other. There was an edge of volatility in the topic I felt.

I am unable to attend the next two day sessions, but there are more discussions/presentations planned with international focus.

The Dance USA Conference was successful in my opinion for day one and day two. There was a great deal of opportunity for people to express opinion and to learn and broaden perspectives. Congratulations to Dance USAstaff and local artists who donated time and energy to receive guest to ourcity. I look forward to reading others blogs covering the final two days.

Maida Withers

Maida Withers Dance Construction Company

Professor, The George Washington University

Read more…

Anatomía de un sueño nace de la necesidad de reflexionar sobre el hecho creativo.
Una directora de escena es atacada por un sueño. Cuando se recupera de las heridas se dedica a analizar la anatomía de los sueños con el objetivo secreto de que la próxima vez en que uno de ellos venga a atacarle ella sabrá defenderse y ponerlo contra las cuerdas.

Una pieza sobre dramaturgia y coreografía en la escritura escénica contemporánea.

La pieza parte de una investigación sobre dramaturgia y coreografía en la escritura escénica contemporánea. Sobre el proceso de creación y composición de un espectáculo en el que se funden la danza, el teatro, las imágenes, la música….Y busca respuesta a preguntas como
¿Es una pieza el fruto de un sueño?
¿Es posible diseccionar ese sueño?
¿Es posible ofrecer al público en un espectáculo el íntimo proceso de creación de ese espectáculo?

Una conferencia escenificada, en la que se analizan diversos aspectos de la creación "You Gonna Dance".

Al informe 003 de Anatomía de un sueño le han dado el premio al espectáculo más original e innovador en el Festival Intenacional de Teatro TAC de Valladolid.
Read more…
2011 Call for Participation, open to members of the Leonardo Education
and Art Forum

CAA 99th Annual Conference
New York, NY, February 9–12, 2011

Due May 3, 2010

Leonardo Education Forum
New Media, Art-Science, and Mainstream Contemporary
Art: Toward a Hybrid Discourse?

Edward A. Shanken, University of Amsterdam;
Since the mid-1990s, new media has become an important force
for economic and cultural development. Support institutions
including Ars Electronica, ZKM, and Eyebeam have expanded,
while interdisciplinary PhD programs at the intersections of
art, science, and technology have proliferated internationally.
Simultaneously, mainstream contemporary art experienced
dramatic growth, propelled by the proliferation of venues from
Art Basel Miami to the Shanghai Biennial, and by the creativity
of artists, curators, dealers, and pedagogues. Yet rarely do these
two art worlds meet. As a result, their discourses have increasingly
diverged. To what extent are art-science, new media art,
and mainstream contemporary art commensurable? Is it possible
to construct a hybrid discourse that offers insights into each,
while enabling greater mixing between them? What roles have
educational programs played in fostering these divides and how
can they contribute to suturing them? What insights into larger
questions of emerging art and cultural forms might be gleaned
by such a rapprochement?

Every proposal should include the following six items:
1. Completed session participation proposal form, located at the
end of this brochure.
2. Preliminary abstract of one to two double-spaced, typed
3. Letter explaining speaker’s interest, expertise in the topic, and
CAA membership status.
4. CV with home and office mailing addresses, email address,
and phone and fax numbers. Include summer address and
telephone number, if applicable.
5. Documentation of work when appropriate, especially for sessions
in which artists might discuss their own work.
6. If mailing internationally, it is recommended that proposals be
sent via certified mail.

Read more…

DRHA 2010 Conference: Digital Resources for the Humanities and Arts
Sunday 5th September - Wednesday 8th September 2010
Brunel University, West London

CONFERENCE THEME: Sensual Technologies: Collaborative Practices of Interdisciplinarity

The conference’s overall theme will be the exploration of the
collaborative relationship between the body and sensual/sensing
technologies across various disciplines. In this respect it will offer
an interrogation of practices that are indebted to the innovative
exchange between the sensual, visceral and new technologies.
At the same time, the aim is to look to new approaches offered by
various emerging fields and practices that incorporate new and existing
technologies. Specific examples of areas for discussion could include:

• Delineation of new collaborative practices and the interchange of knowledge
• Collaborative interdisciplinary practices of embodiment and technology
• Integration/deployment of digital resources in new contexts
• Connections and tensions that exist between the Arts, Humanities and Science
• Notions of the ‘solitary’ and the ‘collaborative’ across the Arts, Humanities, and Sciences
• eScience in the Arts and Humanities
• Use of digital resources in collaborative creative work, teaching, learning and scholarship
• Open source and second generation Web infrastructure
• Digital media in time and space
• Music and technology: composition and performance
• Dance and interactive technologies
• Taking inspiration from SET: imaging, GPS and mobile technologies
• Evaluating the experience among providers and users / performers and audiences
• Interface Design and HCI
• Performative Practices in SecondLife or other virtual platforms
• New critical paradigms for the conference’s theme

The DRHA (Digital Resources for the Humanities and Arts) conference is
held annually at various academic venues throughout the UK. This year’s
conference is hosted by Brunel University, West London. It will take
place from Sunday 5th September to Wednesday 8th September 2010. It
will be held across various innovative spaces, including the newly
expanded Boiler House laboratory facilities, housed in the Antonin
Artaud Building, and state of the art conference facilities plus high
standard accommodation.

Confirmed Keynote Speakers
- Richard Coyne - Professor of Architectural Computing at the University of Edinburgh.
- Christopher Pressler: Director of Research and Learning Resources and
Director of the Centre for Research Communications, University of
- Thecla Schiphorst: Media Artist/Designer and Faculty Member in the
School of Interactive Arts and Technology. Simon Fraser University,
Vancouver, Canada.
- STELARC, Chair in Performance Art at Brunel University and Senior
Research, Fellow in the MARCS Labs at the University of Western Sydney.

We invite original papers, panels, installations, performances,
workshop sessions and other events that address the conference theme,
with particular attention to the ‘Sensual Technologies’ focus. We
encourage proposals for innovative and non-traditional session formats.

DRHA 2010 will include a SecondLife roundtable/discussion event, led by
performance artist Stelarc, which will enable international
participants to present performative work via Second Life. For this
event, we particular encourage submission of Machinima works that can
be screened as part of this panel.
Short presentations, for example work-in-progress, are invited for poster presentations.
Anyone wishing to submit a performance or installation should visit for information about the spaces and technical equipment and support available.
All proposals - whether papers, performance or other - should reflect the critical engagement at the heart of DRHA 2010.
The deadline for submissions will be 31 March 2010. Abstracts should be between 600 - 1000 words.
Letters of acceptance will be sent by 15th of May 2010, when the conference registration will be opened.
Please see more information and a link for online submission.

Franziska Schroeder
DRHA 2010 Programme Chair
Read more…
January 25-27, 2010 MIT Media Lab - Cambridge, MA, USA Please note new conference tracks including Studio Workshops, a great opportunity to propose a hands-on workshop for the conference Submission Deadlines and Categories ----------------------------------- >> Note: different from last year << August 3, 2009: Papers August 3, 2009: Studios October 2, 2009: Explorations October 2, 2009: Student Consortium July 10, 2009: Submission opens January 25-27, 2010: TEI Conference at the MIT Media Lab Keynote speaker announced: Professor John Frazer ------------------------------------------------ We are pleased to announce that Professor John Frazer of Queensland University of Technology will be giving the opening keynote. Professor Frazer pioneered the use of computers in architecture, created of one of the first tangible construction kits for creating virtual models, and has been an inspiration for much work in our field. We are very excited to have him at TEI! Call for Contributions ---------------------- Computing is progressively moving beyond the desktop into new physical and social contexts. Key areas of innovation in this respect are tangible, embedded, and embodied interactions. These concerns include the interlinking of digital and physical worlds and the computational augmentation of everyday objects and environments. TEI 2010 will uphold the successful single-track tradition of previous TEI conferences. The new Studios, Explorations, and Graduate Student Consortium forums are aimed to further establish the TEI conference as a unique place for exchanging ideas and advancing the field of Tangible, Embedded, and Embodied Interaction. Submission Topics ----------------- Appropriate topics for submission (in each of the four categories) include but are not limited to: - Novel tangible interfaces, embodied interfaces, or embedded interactive systems including: physical computing application, whole-body interfaces, gesture-based interfaces, and interactive surfaces - Provocative design work and interactive art - Embodied interaction, movement, and choreography of interaction - Programming paradigms and tools, toolkits, and software architectures - Novel enabling technologies (e.g. programmable matter and transitive materials) - Interactive and creative uses of sensors, actuators, electronics, and mechatronics - Design guidelines, methods, and processes - Applied design in the form of concept sketches, prototypes and products - Role of physicality for human perception, cognition and experience - The role of aesthetics in tangibles (e.g. decorative electronic wearables) - Novel applications areas and innovative solutions - Theoretical foundations, frameworks, and concepts - Philosophical, ethical, and social implications - Case studies and evaluations of working deployments - Usability and enjoyment - Teaching experiences, lessons learned, and best practices - Sustainability aspects of the design and use of tangible systems We invite four types of submissions ----------------------------------- 1) Papers: We are happy to consider a variety of styles, such as academic papers, design sketches, and descriptions of art pieces or installations. At the conference, papers will be presented as a 5 or 15-minute talk, a poster, or an interactive demo/exhibit/installation. All accepted submissions will be included in the conference proceedings and archived in the ACM Digital Library. For more details and submission guidelines see: 2) Studios: Proposals for hands-on workshops (to be held on Tuesday, January 26th) that offer novel hands-on experiences to conference attendees with diverse skills and technical backgrounds. Proposals can range from the exploration of new development toolkits, to prototype design techniques, and the use of emerging or traditional materials in creatively applied ways. For more details and submission guidelines see: 3) Explorations: Thought provoking, evocative, visually and sensually rich content created by a diverse and broad group of practitioners, researchers, artists, designers, inventors, students, and independents. Accepted Explorations will be presented at the conference as a demo, a 5 or 15-minute talk, or a video poster. For more details and submission guidelines see: 4) Graduate Student Consortium: A chance for students to get feedback and advice on their final terminal degree project including but not limited to those leading to a PhD. We anticipate that financial support will be available for graduate students to attend the GSC and TEI. ?For more details and submission guidelines see: Contact ------- If you have any questions, please do not hesitate to contact the Program Co-Chairs at TEI 2010 Organizing Committee ----------------------------- General Co-Chairs Hiroshi Ishii, MIT Media Lab Robert J. K. Jacob, Tufts University Pattie Maes, MIT Media Lab Conference Co-Chairs Marcelo Coelho, MIT Media Lab Jamie Zigelbaum, MIT Media Lab Program Co-Chairs Thomas Pederson, IT University of Copenhagen Orit Shaer, Wellesley College Ron Wakkary, Simon Fraser University Treasurer Lisa Lieberson, MIT Media Lab Studios Co-Chairs Pamela Jennings, Banff New Media Institute Amon Millner, MIT Media Lab Jay Silver, MIT Media Lab Explorations Co-Chairs Jon Kolko, Frog Design Thecla Schiphorst, Simon Fraser University Graduate Student Consortium Chair Mark D Gross, Carnegie Mellon University Demo Session Chair Leah Buechley, MIT Media Lab Design Chair Richard The, MIT Media Lab Art Co-Chairs Jean-Baptiste Labrune, MIT Media Lab Ryan O'Toole, MIT Media Lab Web Chair Ryan O'Toole, MIT Media Lab Video Chair Michael Weller, Carnegie Mellon University Engineering and Logistics Co-Chairs Pranav Mistry, MIT Media Lab Sajid Sadi, MIT Media Lab Student Volunteer Co-Chairs Daniel Leithinger, MIT Media Lab Chloe Fan, Wellesley College Publicity Co-Chairs Sabine Fekete, Institute of Innovation and Design Dana Gordon, Zazaziza Interaction Design Takashi Matsumoto, Pileus LLC Eric Schweikardt, Cornell University
Read more…

amberConference - Call for papers

The first international conference of amberConference will be held in conjunction with the amber’09 Art and Technology Festival, on 7,8 November 2009 in Istanbul, Turkey. The aims and scope of this conference are to create a platform of discussion and dissemination for the various themes and topics in which Social Science, Art and Technology converge.The theme for this year's event is the Cyborg, a phenomenon that has captured the attention and imagination of artistic, academic as well as scientific communities in terms of creative, theoretical, and technological output. The conference seeks previously unpublished papers of a maximum of 4500 words within the fields of Arts and Humanities, Social Sciences, Computer Sciences and Art Papers discussing original artwork.Topics can cover (but are not limited to)Machinic/Cyborg ArtRobotics and robotic artCyborg and Performing artsAvatars (virtual worlds and virtualenvironments)Computer GamesWearable and Tactile TechnologiesArtificial intelligencePost humanismNew modes of embodimentAgencyMedicineGenetic engineering, biology, clones and hybridsReligion, tradition and eternal lifeMilitarismGenderDeadline: 1st of August 2009Click here for more details:
Read more…

This week in Toronto: Soundstreams

This week, I am presenting at Soundstreams' conference, New Models of Distribution: Getting the Music OutI'll be focusing on developing Presenter Partnerships, and creating opportunities for engagement online and offline.When: Thursday May 22, 2008 to Saturday May 24, 2008Where: U of T Faculty of Music, Edward Johnson Building (80 Queen's Park)For great reference materials, research and insight - download this pdfLet me know if you'll be here, or if you know of any Toronto art I should check out.
Read more…
www.mediatisedsites.netMediatised Sites is the culmination of a six month interdisciplinary project involving artists from all over the world. Led by Tamara Ashley and Kate Craddock, these artists have been developing intimate response to their chosen geographical locale and communicating that response through online and digital media. The festival will include performances, discussions and installations created by these artists. Work in the festival will explore how technology mediates our perceptions of sites, landscapes and places, as well as virtualised relationships between each other. The day will also showcase work created by local artists in the tractors and attractors laboratory that takes place in the week preceding the festival.Day Pass: £8/£5Passes available from Dance City,, 0191 261 0505
Read more…

Blog Topics by Tags

Monthly Archives