culture (10)


Cult Object: With the invention of the automobile 125 years ago, one of the great hopes of the 19th century went into fulfillment—that of unfettered individual mobility. From 18 June, 2011 to 8 January, 2012 the ZKM | Media Museum will present artistic reflections on both material and immaterial mobility: Each has its origins in Baden: the invention of physical mobility by Carl Benz in Mannheim, in 1886, as well Heinrich Hertz's discovery of electromagnetic waves as the foundation for worldwide radiocommunication in Karlsruhe in the same year.

From Automobile to Mobile Telephone: On the occasion of the Automobile Summer, Baden-Württemberg 2011, the ZKM | Karlsruhe presents an exhibition the thematic focus of which is mobility in a two-fold sense: on the one hand, the material and physical mobility of the body by means of the car, while on the other hand, the immaterial mobility of information, by means of telegraphy and telephone, radio and television and, above all, the Internet. With the car radio and navigation device, the modern car now combines both aspects of mobility.

On show will be the concurrent development of automobile and mobile technology (radio, television, mobile). The ground floor of the ZKM | Media Museum will be transformed into a huge parking lot for immobile car sculptures. On the first floor, visitors will learn of the history of radio technology—from Hertz's discoveries to the invention of the mobile phone. From cars through to App-Art, the visitor will experience the full range media of mobility. During the mechanical age, messengers would be sent out, themselves bearing their dispatches (carrier media). In the digital age, by contrast, messengers (signals) are sent out without physical dispatches. With the rise of automobility, or self-mobility one hundred years ago, there began the era of individual mobilization, which has today reached its culmination with the development of the mobile phone. Today, the human being is more mobile than ever before in history. From purchasing goods to checking into a hotel, all types of communication and every act, take places in a mobile form.

New Perspective: In Baden-Württemberg, which represents one of the largest automobile clusters in the world, the ZKM has seized the opportunity of the Automobile Summer to present a sensational show, the economic and social relevance of the worldwide "CAR CULTURE" and "Media of Mobility" from an entirely new perspective.

The emergence of the media of mobility began 125 years ago. Since then, everyone is in his own "immobile", his own "house." Everyone is a mobile transmitter. (Peter Weibel)

A catalogue is to be published in conjunction with the exhibition.

Peter Weibel and Bernhard Serexhe
Franz Pichler (mobile telephony)
Assistant curators:
Manfred Hauffen (Apps), Katrin Heitlinger

Participating Artists:
Franz Ackermann, Ant Farm, Miquel Barceló, Gottfried Bechtold, Ecke Bonk, Frieder Butzmann, John Chamberlain, Plamen Dejanoff, Jean-Michel Dejasmin, Götz Dipper, Elmgreen & Dragset, Friedemann Flöther, Zaha Hadid Architects, Hochschule Karlsruhe, Technik und Wirtschaft, Hochschule Pforzheim, Transportation Design, Severin Hofmann / David Moises / Leo Schatzl, Hans Hollein, Li Hui, Christoph Keller, Folke Köbberling / Martin Kaltwasser, Ivan Kozaric, Hans Kupelwieser, Jean-Jacques Lebel, Bernd Lintermann, Alvin Lucier, Michaela Melián, Kay Michalak & Sven Voelker, Olaf Mooij, Hans Op de Beeck, Axel Philipp, Fabrizio Plessi, Tobias Rehberger, Stefan Rohrer, Valentin Ruhry, Peter Sauerer, Pavel Schmidt, HA Schult, Sergej Sehovcov, Georg Seibert, Staatliche Hochschule für Gestaltung Karlsruhe, Gustav Troger, Lieven van Velthoven, Wolf Vostell, Peter Weibel, Pawel Wocial, Erwin Wurm, Yin Xiuzhen, a.o.

ZKM | Center for Art and Media Karlsruhe

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RIP A Remix Manifesto

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Elephants Dream
by Blender Foundation
Elephants Dream is a story about communication and fiction, made purposefully open-ended as the world's first 3D "Open movie". The film itself is released under the Creative Commons license, along with the entirety of the production files used to make it (roughly 7 Gigabytes of data). The software used to make the movie is the free/open source animation suite blender along with other open source software, thus allowing the movie to be remade, remixed and re-purposed with only a computer and the data on the DVD or download.

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Interactivos? 2010 MediaLab Prado

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La La La Human Steps

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La Fábrica presents EUROPES, the first meeting in Barcelona to celebrate and explore contemporary European culture

Starting on 21 October, EUROPES is the new festival created by La Fábrica designed to showcase the latest cultural and artistic trends in Europe. Until 14 November it will make the city the epicentre for contemporary European creation.

EUROPES presents a wide range of contents in different areas, including plastic and visual arts, performing arts, music, film, literature, architecture, cuisine and design. The festival features a crosscutting programme that reveals the rich and complex cultural fabric throughout Europe today and which will shake up Barcelona’s cultural calendar with over 250 activities, including screenings, performances, talks, meetings, exhibitions and conferences.

For three weeks, this new city festival will turn Barcelona into a gateway to Europe. In order to reach the widest possible audience, EUROPES is working with the city’s leading cultural centres, including the TNC, MACBA, Gran Teatre del Liceu, Sala Beckett, Museu Picasso, Mercat de les Flors, L’Auditori, and CaixaFòrum, amongst others. They will be joined by 30 civic centres and 36 public city libraries, over 60 art galleries, and a large number of bookshops, art schools, universities and restaurants, among over 200 spaces.

Thanks to this consensus, the festival brings together the city’s many different cultural systems, both public and private. EUROPES aims to be a catalyst for talent that interconnects and reinforces networks, both locally and throughout Europe. This key aspect will ensure that Barcelona can present a wide-ranging programme that will throw the spotlight on the latest creative trends across Europe.

Among the hundreds of activities being held under the umbrella of EUROPES, on 10, 11 and 12 November there will be an unprecedented symposium bringing together the leading production centres in Europe. The 1st Europes Conference on European Production Centres and Platforms will be a three-day meeting designed to share, compare and contrast different lines of action at the top European creation centres, set out new ideas for the future and set up an exchange and communication network between centres to collaborate on short- and medium-term projects.

EUROPES has invited the twenty heads of the top twenty centres from twelve countries in Europe to come to Barcelona, including Alessio Antoniolli, director of Gasworks (United Kingdom), Gerfried Stocker, director and curator of Ars Electronica (Austria), Ludger Orlok, director of Tanzfabrik (Germany), Stine Hebert, new director of the Baltic Art Centre (Sweden), Chus Martínez, chief curator at Macba (Barcelona), and Pablo Berástegui, coordinator of Matadero (Madrid).

EUROPES activities are arranged in three major sections: the Official Programme, containing the bulk of the main activities, mostly linked to some of the city’s benchmark cultural spaces; the OFF Programme, made up of a generous programme of parallel activities to enrich the Official Programme; and WelcomeEUROPES, created by EUROPES with Barcelona training and education centres, including a range of exchange activities, a pilot bedsharing programme and a creation campus. Anyone interested in welcoming students from Europe can get more information on the EUROPES website:
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MedInitiative:call for artists/collaborators

Call for artists/collaborators

Les Manouches theater company is looking for artists [visual,music,dance,performance], scholars and cultural workers based in NewYork who

-are originally from the Mediterranean

-who belong to the Mediterranean diaspora,

-whose work is informed by or interested in contemporary Mediterranean identity and culture

-who have a keen professional interest in Mediterranean culture

to join us for the creation of the MedInitiative. The MedInitiative will be a network and database that will provide information on the participating artists and their work andwill serve as a platform for the exchange of ideas, information and interests.Through the MedInitiative we seek to find artists and collaborators for theorganization of Between The Seas, a festival of Mediterranean performing artsin NYC. For more information and if you are interested in the project pleasesend your resume, and a letter expressing your interest and background to: Forinformation on Les Manouches please visit

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

Thomas Dumke with the background by Monolake Live Surround Taken from

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

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

Jacob Korn and his Harmony Universe (c) Taken from

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

Photo: mb21 backup taken from t-m-a

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

Mortal Engine by Chunky Move (c)

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

Ballettikka Internettikka (c)

Even if you are in the relationship with somebody who is not online, she or he can’t understand what you are doing all the time. This is a thing in our cognition process, what Marshal McLuhan have postulated in the 60’s. This global village metaphor which is now happening… From the mental point of view, the fact that we are all coming together is based on television, online life and social media thing. This got somehow real, this webness and activities…Of course, and this urge to be connected… and the feeling when you are offline that something important is happening online, and you are not there to see it or try it… sometimes it’s haunting… How do people react to you concepts?TD: We have got mostly positive responses to what we do. I think, it’s always a decision of their own, if they got it right, if they understood this abstract level of sound and visual aspect. Somehow, we are all conditioned by Hollywood and totally illusionary media worlds that have to be colourful and more real then real in details. What we are doing is totally opposite. We use the senses with sound with an aim to make an impact, but a real one. Also, it gives you a chance to put there your own stuff according to things you actually perceive and receive.

Jacob Korn Live AV with hypecycle (c), taken from

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

Chunky Move (c)

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

Photo: tma (c) taken from bodynavigation

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

Photo: Zeitgeist by Hjørdis Kurås

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

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

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

Photo by: Matthias Härtig/TMA Hellerau taken from flickr

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

Synchronous Objects by William Forsyth

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

Cynetart 2009, Automatic Clubbing taken from flickr

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

Johannes Birringer (c)

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

Cynetart 2009, Automatic Clubbing taken from flickr

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

Language Game by Kobakant (c)

Even in the context of Internet, the so-called digital culture or internet natives... I think there would be more and more projects specially designed for this kind of audience, also taking place only on the internet which would know to differ real present activity in the future. Then E-tribal art, and of course this RFID thing...I know that Johannes Birringer from Tirier University is doing infrared sensitive clothes. This is quite interesting from sevelar aspects, one thing is this possibility of connecting everything, but then the author must ask himself, what can we do with this multiple connectivity?Thanks a lot, Thomas!This interview was previously published on Personal Cyber Botanica blog
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Robert Hylton is an ‘urban classicist’… being continuously tainted with the virus called street art in its most refined sense…As a youngster he was involved in the UK’s underground Hip Hop scene (break dance and popping techniques included), then jazz dance&stylez, and after a while he realized that contemporary dance might work for him too in a very coolish way…

Photo: Robert Hylton Urban Classicism (c)

As a very young artist he was a member of many street art crews, for instance Bamboozle; then he decided to blast himself to the next level by studying contemporary dance at the Northern School of Contemporary Dance.In 1999 he founded Robert Hylton Urban Classicism which could be considered as a dance company, production crew and a training platform within whose Robert ‘transmits’ his knowledge and artistic vision.As a real ‘gimme some tunes’ artist he often collaborates with respectable DJs, among them also with Billy Biznizz - UK’s well known DJ, producer and remix-maestro who did some stuff for the House of Pain, Jade, N.W.A, 4Hero and Mark Morrison.

Robert Hylton performed at many international festivals either as a solo dancer either with his own crew. He was a member / guest performer of several dance companies, such as: Jonzi D, JazzXchange and Phoenix Dance. Hylton is also well known for his hip hop/art/educational movies: Urban Classicism South Side, Two Sugars with My Hip Hop please…, The Real Thing, Frames, Urban Classicism, Urban Voodoo, Jaffaman, Simmetry, etc.This spring he spent some time in Zagreb (Croatia) with b-girls and b-boys from the School for Contemporary Dance ‘Ana Maletic’ and the local company What Evaa in order to work with them… they successfully presented their skills almost two months ago where else but on the street…

Photo: Robert Hylton Urban Classicism (c)

I took few minutes of his time to chat a little bit with him at Dance Week Festival, and here is some stuff on street art from Jaffaman, ops… Robert Hylton’s perspective…Yo, Robert! The blood in your veins is the blood of a street artist, somebody artistically raised on asphalt with urban background… those are your foundations… what sort of ‘switch’ has happened when you decided to accept other forms of expressiveness?R: I think I’m a dance junkie, you know. The challenge of learning to dance was good. Culturally, hip hop is in my heart and my brain. Contemporary as well, it’s just a part of dance and I found that I was able to learn it, so I kept it, but I always returned. I mean, I never left hip hop and it was always there. But I enjoy both paths and that’s why I bring to the next generations of contemporary dancers discipline and how to work in the studio. So, fortunate I’m able to kind of help other people. If they just wanna stay hip hop - often come straight hip hop dancers to work with me; but when you are in a rehearsal studio and you make them work, there has to be some rules.

Photo: Robert Hylton Urban Classicism (c)

It’s obviously that you take care a lot about soundz in your artwork… not just ‘gimme some beatz and tunez’ attitude… but a lot of classics, down tempo, trip hop, ambient… you mix it all… seems like they are all equal in your choreographic language? Basically, how do you treat sounds in your work?R: If I like it, I’m drawn to it. I think, even with hip-hop music… when hip-hop first came through, it was an amalgamation of many many different sounds. There was no formula, it was whatever the DJ thought could work for the crowd and listen to. Now, it’s a formula. It’s a straight-forward beat, and it loses its reliance it has back then. So, specifically for this project, before I came, because I didn’t know anyone, I just put a lot of different types of music in my computer and then when I met everyone I just thought: Well, this music makes a language to particular people to keep them in the comfort zone. And I think the music ballet is an important part of dance. If I like it doesn’t matter what it sounds like as long we dance to the music, whether it’s classical or ambient, as long it helps to those textures more then anything else.

Photo: Robert Hylton Urban Classicism (c)

How did you manage to get the street vibe in your choreographies to fit in your style to theatre stage? Do you even think about that? Does it concern you at all?R: I think it’s a part of a natural evolution. Hip hop is young, about 35 years in its growth from the first wave in the seventies, and then in the eighties it was like the big media hustle, now it’s defined like: who the body- architect is; what the vocabulary is; what the history is and I think that’s a rich culture. Self-expression, inventiveness and all this things. So, I think that now there are more tools and it’s a combat to any kind of cultural birocracy in a way of policy. So, like ballet was a peasant dance, was a folk dance when it started. Hip hop is now a folk dance that is changing. You know, it’s a stage of a natural evolution at the moment. Now teachers require knowing the name of every single move in hip hop like in ballet. When you know the name of every move, then you know what the vocabulary is. Therefore, you are building something. It becomes a dance that grows with a form and structure, now excuse to the old ways of thinking.

Photo: Robert Hylton Urban Classicism (c)

You run workshops and dance classes all around the planet. What do you want to accomplish with your dance classes?R: It’s an experience of teaching and developing. Again, wherever I was: New Zealand, Croatia, Indonesia, etc. going with the basic knowledge and vocabulary with the intention to get everyone to dance, to challenge everyone. It’s inside of me and it’s the challenge that I like and it’s always very successful. Then, this education challenge is here… And this is what it takes for me to get on stage, basically. When you come with the honesty, all the things you use are the fundamentals of dance and the experimentation. When people don’t know the fundamentals of dance I would teach them fundamentals of dance. I would challenge them with experimentation. My intention is, wherever they are, to try to push them further.You get the satisfaction from it…R: Yeah, I think I get the satisfaction from it because the more they push themselves forward the more environment in the culture grows, the more it looks to be growing up, the more looks to be organized and I think it just helps the general development of dance, whether it’s fusion, contemporary, hip hop or whatever is hip hop in it’s purest form.

Photo: Robert Hylton Urban Classicism (c)

What do you think about Banksy, the graffiti artist… you probably know that some people are buying his artworks for a lot of bucks, an artwork that essentially belongs to the street and to all people?R: Yeah, I mean Banksy is a graffiti artist in a graffiti sense; he is not necessarily from hip hop background and all that stories. He is very clever, great political references and he does a great job. Banksy is definitely an outlaw, like the older graffiti artists were, when nobody knows who he is - in that sense is hip hop; and he takes big risks and gets away with it. But he is also a businessman. I know his manager; he is a good friend of mine.It’s a good marketing…R: Yeah, it’s a good marketing as long he keep that outlaw that it’s all business and that street artist can be on that level. I think, back again to dancers, that hip hop performers even when they know they wanna be b-boys, they have to learn some business; which is a part of organization when you are professional: contacts, business negotiating and all this. It takes them away from not just dancing on the street. Banksy was not just painting on the walls, he has books out, and his work is in art galleries. If his work is not in the gallery he will sneak by himself and put it there (laughs).Robert, TNX a lot!This interview was originally published on Personal Cyber Botanica:
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Hiroaki Umeda is a multitasking artist… he enjoys dancing, choreographing, making videos, messin’ up with light & stage design, mixin’ soundz, writing a blog, working on site specific projectz, enjoying the nature… and he is definitely not a ghost in the shell but a real man!

Hiroaki Umeda was a photography student at the Nihon University in Tokyo, then suddenly at the age of 20 he realized that he’s more into moveable thingz… he took ballet and hip hop classes… and begun to work on his own solo pieces… in year 2000 he founded a company entitled S20 with whom he has produced till now 5 dance pieces: Ni (2001), while going to a condition (2002), Looming (2003) and Finore (2003), Accumulated Layout (2007), Duo - new version (2008).

He’s been known as a performer using heavily technology in his artworkz, therefore Hiroaki Umeda was a guest at many cutting-edge festivals related either with dance or contemporary art such as: Japan Dance Festival (Korea), KunstenFESTIVALdesArts (Belgium), Yokohama Dance Collection (Japan), Uovo e Contemporanea (Italy), FIND Festival (Canada) etc.Last year he was an artist-in-residence at the Chaufferie which is Philippe Decouflé’s rehearsal space, and the result was his newest performance ‘Accumulated Layout’.

Hiroaki Umeda attacks all your physical and mental senses with light and soundz. He uses subtle electronica and ambient sound (some soundz are even at the edges of music concrete) simply to pull you into his world… but he never let you go…The stage design is totally zen: pure minimalism… with dancer in the middle, but it’s not set up as a ‘saint’ persona in the middle of a stage altar… he is your guide… but not a dictator…

Having such a clear vision of space means that he has to be completely self-confident in order to maintain body&mind related focus…His movements and choreography are based on strong, fast, energetic, snatched movements which you can label as ‘hiroaki umeda language’, influenced by street art performative forms and highly tensive stillness he borrowed from butoh and ballet… and he is sooo good in it… a perfect mix… he is like a DJ asking himself ‘where is the pain?’, the answer is: everywhere!… but Umeda finds his way to challenge it…It’s interesting how he is managing and combining those different forms of expressiveness…Read the rest of the post on Personal Cyber Botanica:
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…and what brought my curiosity to this young and ‘multi-tasking’ dancer?! It was the sound thing, see. This is how I first spotted Matija Ferlin. More precisely, his subtle taste for electronica, then the Montreal’s post-rock gang around Constellation Records and Public Recordings… and I was totally convinced that something pretty cool and creative lies in his mind…Matija Ferlin is an interdisciplinary artist from Pula (Croatia), finding his way at the intersections of dance, theatre, photography and video art… he is a graduate of The School for New Dance Development in Amsterdam… as a relatively young dancer he was accepted at the Sasha Waltz & Guest Company in 2005…

Photo: Paola Winkler (c)That fact gave him an extraordinary possibility to be a part of Waltz’s creative space in which the process of making and creating stands for totally mutual interactions between Creator 1 (choreographer) and Creator 2 (dancer / performer)…One may even ask himself, after working with a choreographer of such a calibre, what should I do now, after landing on the Moon?!Matija obviously doesn’t have such dilemmas because he is switching very often from choreography to photography (he was working with fashion photographer Heinz Peter Knes on the series ‘Lucky is the lion that the human will eat’)… from dancing to attentively listening the urban asphalt purr weaved by the beauty of post-rock (Ame Henderson’s /Dance/Songs/ with Public Recordings)… deconstructing the audience and himself (solo performance art piece SaD SaM)… exploring his obsessions with words and inner paths of every human being (video performance ‘Minor2 : Salut’ by writer, photographer and incredible illustrator Christophe Chemin)… showing us the importance of family roots within projects with his brother Maurizio ‘Unija’… or his own video art the very very Mediterranean stylish ‘Vuk-Vorbild Und Kampf’ (Part 1 and 2)

Video still from the performance SAD SAM, M. Ferlin (c)So, I’ve invited Matija Ferlin at my blog for a small chat about his art… influences… obsessions…Hello Matija, what’s up?! What are you doing at the moment?! Projectz… solo workz…M: Hey Deborah, I am in a hotel room #515 in a hotel Citadel in Halifax, Nova Scotia. The laundry mat is kind of not so close to the hotel and the drop in laundry is rather expensive here (at the hotel ) so I am washing some undies and shirts to have for my trip back to Europe tomorrow. (I think this is the longest sentence I wrote in a while)Public Recordings/Ame Henderson’s work brought me here. We have our little east coast tour. We had shows in St. John’s last week, this week Halifax. Actually tonight is the last show of Dance/Songs at the Bus Stop Theatre in Halifax and tomorrow I will be spending some hours in the air having the ocean under. (Halifax-Toronto-Frankfurt-Ljubljana). In Ljubljana I will be the latecomer to Maja’s Delak new creation process. Serata Artistica Giovanile. We open the show on the 7th of May in Cankarjev Dom, so if you happen to be around – come! At the same time I am busy with opening a concept store “ARTIKL” in my hometown together with my brother Mauricio and in the free time I try to do some writing/research for my new solo work. I believe I like to keep myself busy.(I answered that a month ago. I admit my laziness. I therefore apologize. Now I will keep on answering the rest. I am on my way to Sarajevo with my show, I am fighting a flu. I am dealing with heat in the capital - ZG)

Video still from the performance SAD SAM, M. Ferlin (c)Recently you’ve visited New York, as a part of residential programme, to work at Chez Buswick. How would you describe that experience… 2 videos you posted on MySpace are pretty much intriguing and conceptual…M: I have been invited through Jonah Boaker and John Jaspersee to perform on the opening of Centre for Performance Research in Brooklyn and together with that they offered me a residency at Chez Bushwick. They are incredible hosts, indeed they are. Brooklyn was an inspiring place to be for the first phase of my process. I started to work on my new performance some weeks before that so let’s say that the videos on Youtube are the result of the first phase of work. I am continuing the line of Sad Sam, and a concept of trilogy starts to appear the more I work on it. So the new solo work that I will continue to work on in Vienna during September; October will hopefully come out in January. Still negotiating the producers.

Photo: YouTube still by Matija Ferlin (c)What is the meaning of music and soundz in your art work?! Cause, seems like your essential / personal impulse comes not so from the basic rhythm but from a soundscape structure or the meaning of lyrics which are transformed into images in your mind… Classic or contemporary… Which are closer to your artistic habitué? … Or do you even find it important?!M:I don’t strictly have a need name things. (To declare the taste.) I treat music as space. I have a tendency to change the space. But since I am not a musician myself (yet) I invite other great music artists to help me. I have an emotional relationship to music. Reduced from any concept, therefore you will find lots of urban and classical music references in my work. Music is defiantly a very present body in my work. It’s a collaborator and a performer. I have been testing its role in my last work ‘Drugo za Jedno’. I found new results that triggered me to keep on testing it even more. Music its an amazing force and a good friend.

Photo: Liam Malooney, Dance/songs, Public recordings (c)How did you ‘stuck’ with post-rock in the first place? I mean, this is a perfect music for theatre>> enough abstract and enough narrative…M: To be honest, I do not know. I think these things come with growing up. I guess I grew up. My brother’s music taste was a big influence to me. As a youngest one I liked to copy them. Today I am glad I did. I believe I had a good music education. I was home thought.Post-rock (again whatever fits inside those two words) it’s a great channel to communicate. People threat or have already a relationship to that kind of music in their daily life. Bringing that to theatre, giving that another context only enriches the existing. Both in audience and myself.You do dance classes internationally… Do you find it challenging as a pedagogic experience only, or also as an art inspiration?M: Ame said once about my class “Joyfully exploring the relationship between core strength and a released body, Matija’s approach to dance pedagogy renews participant’s sense that dance training is also about performance, presence and self expression.” It is indeed a pedagogic experience, especially the last one. I have been teaching at the University in Pula, I had 128 students in two groups giving them an introduction to contemporary dance. They study to be teachers and it was great to see how they break up their prejudices about dance and what dance is. Especially today, when Luka Nizetic (Croatian pop star) is a symbol for dance in youth culture. I hedonistically enjoy to see them dropping Luka out of their heads and inhibiting something more complex, more honest and more instinctive for them.You probably know that I’m going to ask you about Sasha Waltz. Tell us… tell us… some little story that says almost everything… about the working process…M: It was a great experience. I met some extraordinary people. The reasons why I wanted to join Sasha Waltz Company had changed while I was there. Read the rest of the interview at Personal Cyber Botanica:
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Ars Electronica announced the festival for next september with a very interesting and provocative formulation: A New Cultural Economy: The Limits of Intellectual Property. The age of copyright and intellectual property has reached its expiration date. A development that already manifested itself in the technical fundamentals of the Internet has reared its head in the actual practices of a young generation of users and is bringing forth a new economy of sharing and open access. With this provocative formulation, Ars Electronica is placing one of the core issues of modern knowledge-based society at the focal point of this year's festival program. What’s at stake: the value of intellectual property, freedom of information and copyright protection, big profit-making opportunities and the vision of an open knowledge-based society that seeks to build its new economy on the basis of creativity and innovation. The crux of the matter is that we still lack practical, workable rules and regulations governing this new reality and—of no small importance—that the task of coming up with them ought not to be left up to lawyers and MBAs alone. After all, regardless of the perspective from which one approaches this issue—that of the Internet pirates, the inventors of a new information commons, the pioneers of a sharing economy or the apologists of the creative industries—one thing remains true: if knowledge and content actually are to be the new capital of postindustrial society, then they have to circulate and be accessible by all.
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The Surveillance System says Poulson is a physical network of bodies controlling bodies through movement, video, improvisation and sound. "These works exist somewhere between the realms of performance art and dance. They focus on movement as a language of basic human interaction, whether it is through a subtle gesture, a theatrical spectacle, or the placement of a body within a space." says Poulson.In fact it also represents to many viewers a temporal and iterative dimension to dance with technology capturing proportions of bodies and technologies temporally in dimension and space..Sarah says, " Pre-recorded and live surveillance videos act as signals that trigger the performers’ options within the non-linear dramas. Choreographed and improvisational elements based on spontaneous decisions force us (and/or other performers) to learn how we fit within the system and how we can or cannot manipulate one another. Dynamic systems of communication emerge within these multi-sensory works."Visit Sarah's page

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