Open Call for Digital Artists: Performers, Composers, Choreographer... for Residency at ESO in Chile

Posted by Peeppol Network on January 4, 2015 at 11:59am

A worldwide call for projects made via Ars Electronica’s online submission tool will be open from mid of December till 9th of February, 2015. The submitting artists have the chance to win a residency at the European Southern Observatory (ESO) in Chile. There is free access to the application process by all interested artists.

Interdisciplinarity, digital creativity and intercultural exchange are the three key criteria for artists submitting to the open call.

We are looking for digital artists who will be truly inspired by ESO, showing their wish to engage with the ideas and with ESO as places of scientific collaboration, using them as springboards of the imagination which dare to go beyond the paradigm.

You might be a choreographer, performer, visual artist, film maker or a composer – what you all have in common is that you use the digital as the means of making your work and/or the way of presenting it.

Deadline: 9th February, 2015

more information

Dissolving Self: Wearable Technology + Contemporary Dance

Posted by Maziar Ghaderi on May 6, 2013 at 7:48am

Here is the premiere of our wearable tech / contemporary dance piece at the HASTAC conference last week.

Our clumsy bows aside, we got some good feedback, and I am interested in continuing this line of research where new media technologies can be employed to enrich the affectivity of performative art.

Would love to get your thoughts on it.

Enjoy. Click!

Watch it at night. If you don't I'll know. :)

Summer School in Electronic Theatre at Royal Greenwich

Posted by Fahrudin Nuno Salihbegovic on May 31, 2011 at 4:46pm

SET – Studio for Electronic Theatre and University of Greenwich

1 to 12 August 2011

A unique opportunity to study and work on a theatre project led by three extraordinary theatre makers at the World Heritage site of the magnificent Royal Greenwich. In two week Summer School – while working on the adaptation of Sophocles’ Oedipus Rex – David Gothard (UK), Hazim Kamaledin (Iraq) and Nuno Salihbegovic (YU) will take you on an exciting educational journey from the ancient theatre of ritual to the cybernetic theatre of the future.

The programme of the school is conceptualised to explore a form of ‘total’ theatre which embrace the best from the both worlds – traditional theatre and cutting edge technological innovations of the 21st century. The students will have an opportunity to explore hitherto unimaginable technological and aesthetic potentials for the stage. Designed to offer deep understanding into so far unique fusion of different arts, science, and technology the school investigates an unknown territory and creative potentials emerging from the established bonds between digital and analog, sonic and visual, innovative and ritual.

Two-Week Workshop at Royal Greenwich

Students will be working on a concept in which the performers/audience – using their body as a ‘digital instrument’ – are able to take control over the visual and sonic elements of the digital media. With their physical actions, voice and gestures they can create and edit video material on the fly, apply special effects, control the sound, and even change the colour of their amplified voice.

During the professional hands-on workshops students will learn computer programming (Isadora), sensor (I-cubeX) and infra-red camera motion tracking, real-time light/video/sound processing, and creative projecting (using alternative projection techniques). This will enable students to programme and control responsive, ‘smart’ space making first practical steps into the field of electronic interaction design in performance and media arts.

The workshops will be accompanied with a series of inspiring lectures and discussions related to the history of multimedia theatre. Students will be introduced to Wagner’s concept of ‘total art’ and its ‘reinvention’ within the discourse of the digital era.

The culmination of the Summer School will be a series of performances of the students’ joint work on the premises of the magnificent Old Royal Naval College in Greenwich.

The School is aimed at students and professionals in the filed of performing and media arts (directors, designers and performers); visual artists working with video, light and sound installations.

Number of participants is limited

Duration: 10 days, 5 hours a day

Fees: £595

Accommodation available upon request

Further enquires: info@setlab.eu

"Do the Digital"

Posted by Brittany on October 28, 2010 at 9:30am

Follow link below to YouTube Video

UCR does "The Digital"-New Dance Moves

https://www.youtube.com/watch?v=_6EFFdL75J0&feature=player_embedded

-Cool challenge to anybody: "do an original move"
-Funny to watch folks freestyle to their song:)

I wonder...
my own 'digital dance' = lots of finger movement isolations
...but what's a more full-bodied example of 'digital dance'?

Techné: body+motion+computation/ On-line Video Series on dance-techTV!

Posted by Marlon Barrios Solano on November 1, 2010 at 1:00pm

Techné: body+motion+computation

Starting September 9th 2011!

Find more photos like this on dance-tech.net

Starting September 9th 2011!

An on-line video series on dance-techTV that presents complete seminal works of dance/movement artists engaged on the experimentation of the performance of movement interfaced with digital technologies.

The works are presented with a video interview with the artist and a compilation of on-line references about the work and the artist.

The aim of this series is to create an online LIVING archive of the evolving field of dance and technology.

Stay tuned for more!

Associate Producer
Marlon Barrios Solano

In Partnership with:

Interview with Thomas Dumke: On CYNETart and new media performance

Posted by body pixel on January 31, 2010 at 10:30pm

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 UIII.org, 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 ds-x.org

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 DS-X.org 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 DS-X.org.

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 ds-x.org

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 ds-x.org

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

Dear Everyone We would like to invite you all to a performance of No Living Room on 29th July at 8.30pm, at the Arcola Theatre in the festival Adventures in Movement for Create 09. watch showreel

Posted by Brian Curson on July 16, 2009 at 4:09pm

Dear EveryoneWe would like to invite you all to a performance of No Living Room on 29th July at 8.30pm, at the Arcola Theatre in the festival Adventures in Movement for Create 09.

watch showreel

No Living Room is the culmination of years of work combining our projected environments with dance. although some of the material has been shown before this narrative reworking creates a piece much closer to our vision of what we call Virtual Reality Theatre.

The blurb is:
alKamie presents
(No) Living Room
Cutting-edge virtual-reality meets physical theatre to playfully challenge economic mantra.…
Arcola Theatre, 8.30 pm
27 Arcola St., London E8 2D
020 7503 1646

With the icecaps and economies alike in meltdown `No Living Room' playfully empties the complexities of consumerism and economic growth into dream-like cinematic theatre. Through live virtual reality and quirky physicality we tumble into a woman's fears and fantasies, to surface from calamity, in the midst of alternative possibilities. read more
how to get there

more about alKamie:

Sincerely yours
Brian Curson & Robyn Stuart
al'Ka-mysts

transmediale Award 2010 & Vilém Flusser Theory Award 2010 - Call for Entries

Posted by body pixel on June 16, 2009 at 9:30am

transmediale Award 2010 & Vilém Flusser Theory Award 2010Call for Entrieshttp://www.transmediale.de/en/call2010-mainConditions of EntryProcedurePlease use the online application for all entries. In order to do so the applicant must first register as a site user. More than one work may submitted by the same artist, using a separate application for each work. Fields marked * are required.The evaluation by the jury requires good documentation of submitted works. Where appropriate, an explanation should be given as to which aspects of the works the jury should consider in particular. Preview video and audio material should be made available online, either within the artist's own site or embedded within a community channel. Supporting images and documents (PDF only) may be uploaded, to a maximum of 5 MB per submission.Additional supporting material may be sent by post if essential for preview purposes (i.e. DVD, CD, mini-DV tape or publications). If so, please include a print-out of your online application confirmation. Mailing costs will be borne by the entrant. Supporting material will be returned on request only and are subject to the following conditions:- submissions from Germany must have a stamped and self-addressed envelope enclosed.- submissions from abroad must have a EUR 10 bill (cash only) enclosed.Festival ParticipationThe conditions of entry are valid for both transmediale and club transmediale and entries for both festivals participate in the transmediale Award Competition at the same time. Nominated entrants will be invited to participate in the festival. It is the intention of transmediale and club transmediale to show all nominated art works - in accord with the possibilities and limitations of the respective festivals to do so.LanguageWorks submitted must be in German or English or have subtitles in either of these languages. Works in other languages must be accompanied by a text list in German or English.Once logged in you can proceed to the APPLICATION FORM.To apply with your art work or project using the online application form, you will need the following:Personal Information incl.:- Applicant Name(s)- Contact information- Birth Date, Citizenship (for potential funding)- BiographyProject Information incl.:- System Requirements- Synopsis (max. 1500 characters, incl. spaces)- Images (as jpg, tif, gif, png or bmp - max 500 kb each)- Support Documents (as pdf)Deadline: 31/07/09Contact:transmediale.10festival for art and digital cultureKlosterstrasse 6810179 BerlinGermanyPhone: +49 (0) 30 / 24 749 761Fax: +49 (0) 30 / 24 749 763info@transmediale.dewww.transmediale.de

Digital Futures in Dance Symposia

Posted by Anthony Baker on March 27, 2009 at 5:00pm

Over the next two years, DanceDigital will be hosting a series of symposia exploring current trendsin Dance & Technology. The symposia will include contributions from eminent practitioners in thefield of dance and technology, dance artists and companies, venues and promoters.We will be exploring a variety of themes and provocations around the Dance & Technology theme.Our first symposium will be looking at the future of Dance & Technology,where it is going and what the future will hold. Contributors will include Kit Monkman (KMA),a Futurologist and a lecturer from a leading Arts and Technology University Course.There will be the opportunity to ask questions, discuss your own work and gain insight into thefuture possibilities and technologies for dance and the arts.To book your place on this FREE symposiumcall or email DanceDigital:»»call us: 01245 346036»»send a mail: bookings@DanceDigital.org.uk»»or download a form from our website: www.DanceDigital.org.uk

This Week at Eyebeam: Interactivos? launch | Summer School | Digital Day Camp

Posted by Eyebeam on June 26, 2008 at 2:30pm

Kudu at MIXER, June 14.
Photo: Christine Taylor.

We come in several original summer flavors

It’s the end of June and Eyebeam is about to burst with interactive activity with the launch of Interactivos?@Eyebeam, Summer School and Digital Day Camp.

You can also catch the tail end of the Dewar’s commission for resident artists show Tourists and Travelers, and get a tour with Charlie the robotic duck to Central Park before we kiss our Spring 2008 residents goodbye, and usher in the Summer 2008 residents.

And for the memories, hot MIXER pics are online now. Summer is finally HERE kids!

This Week at Eyebeam:

June 26: Upgrade! launches Interactivos?

June 27: Interactivos? workshop and public skill-share begins

June 28: Camerautomata Charlie walking tour

July 1: Eyebeam Summer School is in session

July 7: Digital Day Camp begins

New from our Labs:

June – August 10: Sarah Cook presents Broadcast Yourself at Cornerhouse

June: TouchKit API version 2.0 to be released

June: Ayah Bdeir’s littleBits in Berlin

July 5: Anti-Advertising Agency’s OFFFice in Chicago

On the road again: The Eyebeam Roadshow call for Fall 2008 hosts

Eyebeam community news:

HeHe’s Pollstream – Nuage Vert wins 2008 Golden Nica

June 26: Upgrade! launches Interactivos?

Upgrade!
Date: Thursday, June 26, 7PM
Location: Eyebeam, 540 W. 21st St., NYC
Cost: Free

Join us on Thursday, June 26 at 7PM for the Upgrade! New York launch of Interactivos?: Better Than the Real Thing. R&D OpenLab fellow Zach Lieberman will set the scene with a presentation about Interactivos? and its beginnings at Medialab-Prado. Discussions of the real, the fake, and spoofing will ensue, with a presentation by The Yes Men. Informal discussion and a reception will follow. Eyebeam projects on display, that evening, will include BoozBot by Eyebeam senior fellow Jeff Crouse and Eyebeam Production Lab fellow David Jimison.

Upgrade! is an international, emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. Upgrade! New York has been in existence since April 1999 and partnered with Eyebeam in March 2000. Upgrade! meetings present new media projects, engage in informal critique, and foster dialogue and collaboration between individual artists.

UCR does "The Digital"-New Dance Moves

We come in several original summer flavors

This Week at Eyebeam:

New from our Labs:

Community news:

There’s a party in the warehouse: Would you like to come?

This Week at Eyebeam:

New from our Labs

Community

June 1: How Soon is Now?

Note: this page contains paid content.

Note: this page contains paid content.

Note: this page contains paid content.