In my new blog, The Kinetic Interface, I'm covering many topics that I think are related to explorations and work of members of dance-tech.net.In a nutshell, I'm covering the intersection of dance with movement and body-centric developments taking place in many fields (science, technology, architecture, design, gaming, medicine, etc.).Here are a handful of posts I've written for which I'd very much appreciate feedback. In addition, it would be great if you know of online dance videos that relate to these posts. I very much want to show dance examples along with the architectural, robotic and other videos I include.- Flare, a Breathable Kinetic Building Facade: What are examples of dancers who have created works that deal with responsive architecture?- The Sources of Vertical Movement: I'd like to find examples of dancers who have worked with robotics with a particular focus on the possibilities and limitations of robotic motion and propulsion.- Swarm Intelligence and Self-Replicating Systems: I find research into swam intelligence fascinating. Which choreographers/dancers have experimented with these ideas?- Gesture Patents Point Way to Full-Body Interfaces: I wasn't serious when I suggested that an Ohad Naharin performance (I include video) was a response to gesture-based patents filed by computer companies to control new interfaces. But I would like to know what this network's members think about new gesture-based interfaces and what dancers can contribute to new ways of thinking about how our bodies can control new generations of mobile, gaming and computer devices.I figured I'd just include four posts. I'd be delighted if you read my other posts and offered your feedback.Also, as I mentioned in my profile, I'm going to soon be doing video interviews here in New York City. I'm especially interested to interview choreographers who:1) Have explored the relationships of dance to many of the body and movement-based developments taking place in many fields, and2) Would like to discuss and demonstrate their creative and choreographic process with an emphasis on how dances are created.Much thanks and I look forward to being an active member of this group.
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Hello fellow dance-techians...This is an announcement for my latest piece. The piece is a work in progress and the most tech that I have applied are my mean skills of sound editing the Beach Boys... and silence... mixed with a little Aphex Twin... just a sketch. The other view of technology that I hold involves the mechanics of the body and the creation of a movement structure or system that I call the scary body, more below. If you are here in NY please try to attend, thanks a lot.Ashley A. Friend: The Contemporary Dance Core (TCDC) will be performing the latest evening-length version of the newest piece entitled ID at the historic and celebrated 92nd St Y on Sunday, March 9th at 3pm.This is such an exciting opportunity to show the new work. Each month the 92nd St Y features one choreographer or dance company. The environment of the 92nd St Y Sunday Afternoon Series is calm and offers a chance for audience response, plus coffee!Description of ID:ID is inspired by the relationship between decision-making and self-identification. It investigates health, impact, destruction and construction, and the connections concerning the body and brain. The piece is an exploration of the awkward body and includes a movement vocabulary Friend has titled the scary body; this dance expression was informed by the physical response to ergonomic architectural prosthetic impediments that were placed on the dancers bodies and challenged the way the original movement phrases were executed. These impediments augmented and distorted the already inventive movement and also create another layer of personality and personal intention as related to health and living with epilepsy. Friend has used vocabulary from this method within ID.Friend has also explores the new concept of Negotiation, Opposition, and Decision (NOD) as she responds to questions within her choreography and movement improvisation with the definitive “Yes” or “No”. She negotiates what the next movement could be through opposition and then makes a decision on the spot. NOD splinters decision-making and the dancer must consider each movement and hold a political forum within the body; Negotiating and Opposing prior to making the irrevocable Decision to move. With NOD as the second basis and her icon of the scary body as the foundation for movement vocabulary construction Friend has plunged head first to confront her own id.Because of the nature of a solo ID is particularly personal and especially refined with accuracy, precision, and depth to the subject. ID is a voyage of personal identification by means of decision-making both verbal and physical, through dance and storytelling. The piece is riddled with laughter, compulsion, and catharsis.Thank you so much for your interest in dance, choreography, and art! If you are in the New York area please come to this event. Your presence, individuality, and bequeathed artistic interpretive views will be worshiped by me. Contact the 92nd St Y or myself if you have any questions about the performance or just want to start a ciber-logue.*Please note that March 9 is daylight savings (spring forward)All the Best,Ashley A. FriendArtistic Director,The Contemporary Dance Corewebsite for The Contemporary Dance Core (TCDC)http://www.dancecore.org/https://www.youtube.com/watch?v=sYU7wwANYhA...92nd St Y1395 Lexington at 92nd StNew York, NY 10128www.92Y.org/harkness212.415.555292nd St Y Harkness Dance Center receives major support from the Harknesss Foundation for Dance and The Arnhold Foundation.
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There is a lot of great dance film stuff going on this week!Screening:First, you won't want to miss Kinetic Cinema tonight (5/5) curated by downtown dance fav Levi Gonzalez. Levi has brought out a bunch of friends to share cutting edge dance videos and talk about experimentalism in dance and film. Come see new videodances by Melanie Maar, Sarah White, Theo Angell, Yasuko Yokoshi, Hedia Maron, ChameckiLerner, and much more!Be one of the first 10 to arrive and get a free Corona for Cinco de Mayo!Kinetic CinemaMonday May 5th, 7:30pm (and the first Monday of every month)$5 Admission (buy tix at the door)@ Collective:Unconscious279 Church Street (just south of White Street)New York, NY 10013Trains: 1 to Franklin; A, C, E to Canalhttp://weird.org/films.htm212.254.5277Salon:Tomorrow night is Dance Film Lab at DTW, moderated by the wonderful Zach Morris of Third Rail Projects. This salon brings dance filmmakers together to present raw footage, drafts, works-in-progress and newly finished films to their peers for constructive feedback, to share information, and address technical, practical and artistic challenges. The lab is free and open to the public, though reservations are necessary.Meeting Details:Dance Film LabTuesday, May 6, 8-10pmat Dance Theater Workshop (DTW)219 West 19th Street(between 7th and 8th Aves)Phone: (212) 691-6500Blogathon:Last but not least, yesterday marked the beginning of the week-long Dance Movie Blogathon! Marilyn Ferdinand over at Ferdy on Films has organized this fabulous web event in which dozens of dance and film bloggers (including yours truly) will be blogging about dance on the silver screen. Check out her blog during the week for links to all the latest posts.
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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
Peter Shapiro has made me regret not going to this last year; so will definetly be going this year:http://www.danceparade.org/Its in great part attempting to shed some light on the racist cabaret laws, as well as keep the ny spirit alive that started such things as well...every major social advancement in U.S. history.cj
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