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Free Download – Contemporary Performance Almanac 2018

Posted by Caden Manson on May 12, 2019 at 1:50pm

Hi!

Its been a while, but I wanted to share the link to download this past year's Contemporary Performance Almanac 2018. The Contemporary Performance Almanac 2018 is a crowd-funded and open-source overview of contemporary performance created or presented during the 2017/18 season available for touring now.

Here is the link!

https://contemporaryperformance.com/2019/04/09/free-download-contemporary-performance-almanac-2018/

Best,

Caden Manson

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Big Art Group

Contemporary Performance Network

Special Effects Festival

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Announcing Special Dance / Tech Residency Sponsored by TroikaTronix/Mark Coniglio @ Lake Studios JULY 2016: Apply now! Deadline February 25th.

Posted by Lake Studios Berlin on December 10, 2015 at 9:10pm

Technology, the Body, and Choreography
Free residency at Lake Studios Berlin sponsored by TroikaTronix – Mark Coniglio

We would like to invite dance makers invested in the field of technology to apply for this special residency hosted at Lake Studios Berlin in July 2016.

We are searching for artists who consciously use elements of technology to expand and deepen the choreographic process. We look for work that uses technology to push and transform the body’s performative and choreographic possibilities yet still place the performing body into the foreground of the work. The technological components can, but must not be visible in the finished work.

To apply please submit the following:

- A short artist statement (no more than 200 words) about how you define, perceive and work with the element of technology in your performance work.
- A description (no more than 500 words) of what you would like research and develop during the residency
- Your CV and the CVs of any collaborating artists
- Supporting video and documentation material of current and/or past work
- artists must become members of www.dance-tech.net. (free registration)

We will provide free of charge:
- a private room and access to a shared kitchen, and bathroom in the Lake Studios Complex for one person. A second bed is available in the room.
- 100 hours of Studios space divided between our small and large studios
- Technical equipment: 1 beamer, selected stage lights/light board, sound system and mixer, microphone, sound recorder, video camera to record rehearsals, el. piano.
- the possibility to present first stage of the work for feedback in our performance series Unfinished Fridays on July 15
- a performance opportunity July 29/30 at Uferstudios in Berlin’s city center in the frame of a dance/technology festival organized by Mark Coniglio/TroikaTronix
- 2hrs of coaching by Mark Coniglio (creator of the video programming software Isadora)
- 2hrs of remote online coaching by Marlon Barrios Solano (founder of dance-tech.net)
- The artist will be featured on dance tech.net and have the possibility to blog and post about the work and/or make use of dance-tech live TV channels

The selected resident must provide his/her own transportation and meals.

Lake Studios would like to thank TroikaTronix, maker of Isadora, for their generous financial support of this residency.

Please submit your applications with the subject line “Dance/Tech Residency 2016” by February 25, 2016 to lakestudiosberlin@gmail.com
We will notify all artists of the selection results by March 1, 2016.

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Fluxus Reader – Free Digital Edition

Posted by Marlon Barrios Solano on March 3, 2016 at 1:09am

2e4a6_feb25_swinburne_img.jpg

In celebration of the 50th anniversary of Fluxus—the international laboratory of art, architecture, design and music—Swinburne University of Technology has released a free digital copy of The Fluxus Reader. 

 

Fluxus began in the 1950s as a loose, international community of artists, architects, composers and designers. By the 1960s, Fluxus had become a laboratory of ideas and an arena for artistic experimentation in Europe, Asia and the United States. Described as ‘the most radical and experimental art movement of the 1960s’, Fluxus has challenged conventional thinking on art and culture for half a century. Fluxus artists had a central role in the birth of such key contemporary art forms as concept art, installation, performance art, intermedia and video. Despite this influence, the scope and scale of this unique phenomenon have made it difficult to explain Fluxus in normative historical and critical terms. 

 

In The Fluxus Reader, editor Ken Friedman offers the first comprehensive overview of this challenging and controversial group. The Fluxus Reader is written by leading scholars and experts from Europe, the United States and Australia.

 

First published in 1998, the book was out of print for several years and only available from rare book dealers and galleries. To celebrate the 50th anniversary of Fluxus in 2012, Swinburne University arranged for a complete digital edition in PDF format, copy-enabled with full search features.

 

To download The Fluxus Reader please visit
hdl.handle.net/1959.3/42234 

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Zehar magazine. Performance Issue

Posted by karla kracht on September 27, 2009 at 8:13pm
the new edition of the magazine Zehar, a publication by basque art centre "arteleku" is talking about performance. Publication is downloadable at the website (see link below) Languages: Spanish and Euskadi....imageZEHAR #6565 PERFORMANCE EDITIONThe current edition of Zehar asks of us, through performance, a dual task: to detach ourselves from the mere immersion in the images of which each moment of our daily lives is composed and also to refl ect on how these images are shaped and on the imperceptible relationships that are gradually woven between them.In the same way that there are different ways to understand a performance, there are also manifold ways of making use of it. The use of the performance put forward in this number is like that of a broom employed to gather up and tidy the accumulated visual material that we have. The aim, then, is to arrange all the visual material that surrounds us and the structures that are brought to life and made sense of by these images, so allowing us to develop through them and to create new spaces that can respond to our needs.We have put into print the edition exercises that different people have shown when faced by the accumulation of images of our surroundings. It will therefore be a chain of exercises in series, a kind of incomplete series of scores or rehearsals for different and possible performances. Some of the proposed exercises are theoretical, others deal with performative experiences and, fi nally, there are also actual performative exercises perse.ZEHAR_65_EN.PDF — PDF DOCUMENT, 5369KB---------------------------------------------------------------------------------------------------------65 PERFORMANCE EDICIÓNEl presente número de Zehar nos propone, a través de la performance, realizar un doble ejercicio: abstraernos de la mera inmersión en las imágenes que van componiendo cada uno de los momentos de nuestra vida diaria y reflexionar acerca de cómo se van conformando dichas imágenes y de las relaciones imperceptibles que se van tejiendo entre ellas.Así como hay diferentes maneras de entender lo que es una performace, hay también múltiples formas de hacer uso de ella. El uso de la performance propuesto en este número sería como el de una escoba utilizada para recoger y ordenar el material visual que vamos acumulando. Se trataría, pues, de ordenar todo el material visual que nos rodea y las estructuras a las que dichas imágenes dan vida y sentido, lo que nos permitiría desenvolvernos entre ellas y crear nuevos espacios que respondieran a nuestras necesidades.Hemos trasladado al papel los ejercicios de edición que diferentes personas han realizado ante el cúmulo de imágenes de nuestro entorno. Será, pues, una cadena de ejercicios en serie, una especie de partituras o ensayos inacabados para diferentes y posibles performances. Algunos de los ejercicios propuestos son teóricos, otros tratan sobre las experiencias performativas y, por último, hay también performances propiamente dichas.ZEHAR_65_EN.PDF — PDF DOCUMENT, 5369KB
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Interview with Marlon Barrios Solano: On Dance-Tech and dance embodiment, part ll

Posted by body pixel on June 20, 2009 at 5:00pm
This is a second part of interview with M.B. Solano. Read the first part: Interview with Marlon Barrios Solano: Dancers moved by Technology

Photo: Amelia by LaLaLa Human Steps (c)

Where does your interest in technology come from in your life? You teach contact dance, yoga, zazen, but you are hooked up to computing, too… People usually have wrong perception that those two can not get along…MBS: I have a background in psychology and dance. I came from Venezuela to study psychology. And psychology was really drown to cognitive science. People told me: OK technology, but you should be a dance therapist! bla bla bla… and I said: NO. I kind of liked this interesting study of perceptions, minds, you know. I’m very drown by materialist paradox of understanding humans. And then I was at the same interested in understanding the complexity of cultures. As being a dancer for a long time, I was reflecting myself officially as a dancer, but what I wanted to do was psychology and at the same time dance.So, I met David Zambrano, who’s Venezuelan and he lives now in Amsterdam. He is improviser and he also developed his own techniques, etc. I’ve met him in Venezuela at the Festival de Danza Postmoderna – he founded that festival. He brought there dancers like Nancy Stark Smith, Lisa Nelson, you name it… Incredible people! Suddenly, I was then in my apartment, and these people were dancing in my country. And I had a facility to see some kind of kernel about this very interesting motions of embodiment. It was not just about how to dance; it was really a philosophical shift that was implying the new way of improvising, trying to compose the real meaning of improvising. They had to reformulate the common parallels of understanding their bodies. So, I kind of saw that and I was interested in this kind of informal research, trying to see what is a cognitive model.

Cyber Girl by Fausto de Martini (c)

Then you moved to USA to study?MBS: So, for that reason I moved to New York in 1994. Then I started to really study improvisation, and I started to explore it from the same basis as people from virtual reality. I was interested in how people from virtual reality see the embodiment parallels. Then I start perceiving the same common theoretical lineage was practically between Lisa Nelson and people who developed the theoretical practice of contact improvisation; and people who were working with virtual reality.I started writing about this, and I was invited on psychology conference on consciousness in Tulsa. And there I met people from CaiA+STAR – Centre for Advanced Inquiry in the Interactive Arts and Roy Ascott. He was this amazing person to me and he said to me: you know, there is actually a way of putting these things together as a research for people who want to work with dance and technology. It was in 1999, and then from this world of improvisation I started to study notions of real time, composition. And then computers and computation became very important part of the investigation. After that I applied and entered to The Advanced Computing Center for Arts and Design at the Ohio University.

Photo: from Moebius Strip by Gilles Jobin (c)

And this is how a dancer and psychologist became tainted with virus called technology…MBS: Technology has always been the umbrella to understanding practically our minds in practices. Then I learned programming – BASIC, Actionscript, etc. After that it was a progression for me when I moved back to New York and started Dance-Tech. I’m normally teaching a lot abroad and I’m doing a lot seminars.You know, when I realized that websites are not static, that was for me the coolest thing in the world (laughs). They were beautiful and animated. I mean, you put something and then it started suddenly to move. That was for me: Wow! What we have been waiting?! It’s almost connected and self organized intelligence that is about an interaction itself, that creates a kind of social improvisation. And then, I practically switched and created this interest in social software. That is a little bit of a technological story, but I’m not an original native of the Internet (laughs)…Oh, I see… (laughs)

Keyboard Bag by Joao Sabino (c)

I like the idea that we are all becoming rather multi-functional these days, we all have to be skilled in many disciplines…MBS: …or at least to have a literacy, because the notions of literacy are different now. For instance, if you have an internet native, that’s somebody younger then eighteen. I taught a workshop with teenagers in New York; and I was literally taught by some of the students. This literacy became a part of their set of social life. That is amazing, that move from text to real interaction. They can speak and they can take from these sets of knowledge. When we talk about gaming, that is a totally different involvement, then there are big changes in cognitive apparatus. Different understanding of different realities; faces that have previous faces, you know. It’s very interesting how artist use this Tech world.Then my interest evolved into this topical fields of dance and new media art. Now, I find very powerful researching how these technologies are allowing these generations of knowledge distribution in the world, in a way that is totally different from publishing generation.

Photo: Ken Stelarc (c)

Several months ago Ray Baughman presented ‘a new type of muscle that dramatically outperforms biological ones in nearly every way’ as he says. What is your opinion on nanotechnology and its soon use in every day practice?MBS: I would say there would be degrees of experimentation, degrees of assimilation of the technology. You will see a stage of development. Now, you see it more practically: wires, connections, light. You need different people to connect all this. There are technologies that are progressive now in the medical establishment. It’s not a big deal if people are using Prosac, but to understand why Prosac works is literally the same principle to understand why caffeine works. When people are coming to Starbucks, there are these huge mechanism of drug distribution – caffeine. The principle is the same. Caffeine can be monitored as a certain trigger for certain mood changes, you know. Why I’m saying this?! We are evolving a really, really important ‘Know-How’ of who we are; and how we generate technologies and we have agencies in unthinkable areas of our existence, you know. From Botox and plastic surgeries to genetic engineering and laproscopic surgery. Everybody can use it. Even if dancers would injecting grow hormone in their muscles in order to pump them up, we are ready to increase hipper design, because we have increased agencies.I mean, when you see bodies from dancers in 1973 and dancers now. I mean the difference is incredible. Just because they use different knowledge to train their bodies. At the other hand, many different techniques for dancers are now practically regular in every gym.People are using even different chemical substances, and that’s a fact. I’m not moralistic about it. That’s a fact and it actually happens. Today we have even different metabolism, that’s also a medical fact. That’s dance and technology. In the level of research, I hope (laughs).

Photo: Chunky Move (c)

This research aspect is a crucial part of your approaches to work…MBS: That is something very important to me, that dance and technology is not going to be just researching about what artist dressed or something. This field is actually about unstable embody humaness. Not only about actions and how we have these really intense performative scope that I hope we can actually research this field sometimes in a very, very ethnographic, anthropological way. That we can actually see important things, for instance in urban dances. Sometimes different from digital, we can see relation to popular culture, too. There are many performances now inspired by Manga comics. It doesn’t have to be obviously a dance with the video, you know. These differences, that’s what I would like to see.

Sciam Special Robotics (c)

How the mind is changing in relation to digital? You connected in your work digital spheres with essential human body… All movements and motions are coming from our brain… We can ignore now the fact that digital world is making a sort of a aggression, but also it is the most ‘imaginative thing’ that happened till now in human history…MBS: Yeah! Digitality has allowed to render realities that have a real of plasticity. Our minds are the most plastic, and when we say our minds, we say our body minds. It’s interesting to see how our plasticity increased because we can imagine things. Literally, we need to investigate how humans imagine, how humans create reality. It doesn’t belong only to the realm of the digital. The digital is only one deployment of technological feedback. You know, some people say: Yeah, computers are damaging this and that… .But reading has a very specific embodiment and writing has very specific embodiment, too. You have to develop certain cognitive skills. I think we should observe human embodiment even in the church. Because people are in a very intensive environment that create very immerse experience with sound. At the same time we can go in the cage with all these virtual feedbacks. Those things are possible also because of the design of technology and because we have bodies that we have. Sometimes is good to see this side of digitality and experiences. Because we live in this world of creations facilitated by different kinds of textuality, renderings. It’s a hyper designed world. It’s not about purity of experience.

William Forsythe: Synchronous Objects (c)

Now, let’s get back to Dance-Tech! What was the initial trigger for starting Dance-tech?MBS: I was a part of dance and technology community for eight years, and at the same time I was doing these development of interactive platforms for other organizations. I kind of said: Well, this is what we need! The interesting thing is that people, so many network based artists are distributing their art in the world. I thought that it would be great to have an internet based platform that will allow you to do a synchronize collaboration. You know, to post and publish. So, I proposed this to the network of dance and technology related community; and we started a discussion. We talked about that are we ready, and so. And then I thought: OK, let’s just do it!In 2007 we launched a community and social network. It has a quite specific interest, you know, dance and technology. But it is far from this ‘dance&tech’ only community. It’s an independent project, self funded and I have to say that this development was wonderful to look at, increasing members and activities. That was really needed. But then I started to include also visual artists and VJ’s. I have an idea of interviewing people, because I live in the most useful place, in New York. Now it’s a great platform and our members are increasing every day. It’s great to see so many people gathered around dance and technology.Marlon, thanks a lot!(Originally published on Personal Cyber Botanica: www.lomodeedee.com)
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Interview with Marlon Barrios Solano: Dancers moved by Technology, part l

Posted by body pixel on June 20, 2009 at 4:30pm
In the history of dance only few dancers and choreographers were considered as sort of tech related investigators…With the expansion of new media art, the wider use of Internet, user friendly applications, multi-functionality of modern age, and the whole DIY scene that has grown up so fast; dancers and choreographers realized that technology could be a new challenging platform for them.

Therefore, they decided to invite programmers in the process of creation, and then theoreticians also came into the field, followed by curators, too. Now, we can seriously talk about an emerging community of new media oriented performers.Free online tools enabled the possibility, literary, for every user to become the master of its own channel. You don’t need expensive equipment to become, for example, a podcaster…Something along this line recognized Marlon Barrios Solano, the founder of very, very vibrant social network, Dance-Tech. Marlon is former dancer and an inter-media artist, instructor of interactive technology for performance and an interaction designer.Dance-Tech was created on the social networking service Ning, in my opinion, still one of the best tools offered on the web market. The potential of this service was recognized by the wider public and professionals, who created several art communities which became relevant places for specialized and targeted users.Officially the network presents itself as ‘an international community of artists, scientists and theorists working in the confluence of embodied performance and new media.’

William Forsythe: Synchronous Objects (c)

Marlon Barrios Solano’s biography is fulfilled with collaborative artists, such as: Susan Marshal, Lynn Shapiro, Bill Young, Merian Soto, Dean Moos, Philip Glass, Eric Friedlander, John Zorn…At the moment he works as an instructor of interactive technology for performance, consultant on cognitive and new media architectures. Marlon holds MA in Dance and Technology (Ohio University), and regularly gives lectures and workshops internationally.He was also the main suspect for an amazing thing that happened recently in dance spheres, and that was promotion of William Forsythe’s data visualization project Synchronous Objects (I will blog about it soon, promise!). Marlon is now at residency programme in Gilles Jobin’s dance nest in Switzerland.The network is a great example what you can do with personal engagement, vibrant ideas and you can see how important is to understand the rules of social networking on the web these days. Since very recent I’ve became an associate blogger for this amazing community of artists and researchers…

Photo: Chunky Move (c)

Therefore, he’s here today for a talk on dance… technology… new media art… scientific behavioral approaches to body and movements…Hi Marlon! What do you think how dance scene started to change in the context of technology. What are your thoughts on what was driving these changes?MBS: Well, I will tell you what my approach is. Someone asked me a week ago: Marlon, do you think you should change the name of Dance-tech as such, you know, dance and technology world is disappearing as such, right? I’m aware of a lot of changes that are happening in the field and in itself.I have a very grow understanding of the relationship of the embody practices with social technological environment meaning from science to technology. In that way, a part of the agenda of the project is trying to see, put forward or to figure these sometimes very obvious connections between dance approaches and practices with technologies of the time.And not only the technologies of the time; but also philosophical, epistemological and scientific world use that exist parallel in the spectrum in certain time.Where would you place new media in this relation with bodily aspects?MBS: With all this I said, I’ve tried to set and connect training practices, especially, how we understand the process, creative process. How we understand time and relationship with proposition and design. It has been always related with technological proportions…In that way, I think that dance and technology have always been related to digital technology. I believe that in most of the embody practices that we call dance, there is a substrata, there is normally this relation to technology of the time. I think it’s very important to be aware that dance and new media are, most recent, in interrelation that are trying to understand the relationship of bodies with technologies of the time. In this case we are using new media. But, perhaps the principles are the same; you know what I mean, because our body has been evolved with the practices. So, I think that it’s important to see what is a cognitive connection that we have – us, human creatures. And how it has allowed us to be, kind of, related with the tool making and technique making.So, Techne is for me the most important. Techne is a skill, you know, it translates the skills instead the tool. That is something really interesting for me. You know, I came from the tradition and I place myself in the tradition also: dance, influenced by productive movement, deconstruction on what movement is, what dance is.

I the context of dance history, how it started and who was first? I don’t think in a sense of pure understanding of data, the way we perceive information today?MBS: I can say that there is a very direct connection with the notions of information and understanding of rule system, practically is more procedural than the process that determines the steps and so. There is at the moment present very interesting relationship that I would say, contrary to what most people think, that dancers and mostly dancers in the last forty years are being very related with technological discourses. You know, first it came from Merce Cunningham, and then continued with Trisha Brown… ‘Creating accumulations’ – it’s practically a piece that is an algorithm. There is a relationship, because we use bodies that we have with technology.How these changes have affected our experience of dance on one side, and technology on the other side?MBS: I don’t thing there is something as pure dance, it doesn’t exist. Dance is a cognitive phenomenon that evolved within an environment that is designed for it to happen, doesn’t matter where: a church, dance studio or a parade. You know, spontaneous dancing, whatever… it’s always situated, it’s always contextualized. I think that the most important aspect is that we have understood that we live in the world of conflicts. And these conflicts can be sometimes with pretty direct feedbacks. And these feedbacks, you know, like you know that you live in a loop of constant conflict of feedback of images, feedback of sound.

It’s a sort of body mapping… movements mapping…MBS: Yes! For example, when you play a drum? You would have this person making music. When you take a drum out, you can see the movements, you can see that there is a dance, right? With a drum you really see this very direct impact of the body with the surface and this creates the sound. So, there is a very direct consequence of physical action. With digital technology we have been able to create different ways of mapping physical actions and that mapping is sometimes not liberated. But then, this mapping has liberated these direct ‘one to one’ consequences of certain kind of physical action. Meaning, if you have a computer that can simulate certain outputs like colour, bodies, or, let’s say, certain kind of practice, or even a sound of certain intensities.The opposite to the physical action and the intensity of the response is not ‘one to one’. It might be another possibility, if you leave a strength or a heat, it can have a very direct consequence, but that’s another issue of physical logic. The intensity of non movement not necessarily have to be hard in the intensity of the colour, you know, that relates to the data. That possibility of separating how we perceive action and reaction, or a consequence of an action, the relationship of a natural with another output is what has made technology really interesting. So, than you can have a lot of possibilities of plasticity of different kinds of mapping and visualizations, renderings combined with sound.

Photo: AP Photo Japan (c) taken from NG

How would you relate this to the development that is happening in robotics, Artificial Intelligence…MBS: I think that one of the most interesting thing that is happening now is in robotics. There is a certain kind of lineage of robotics science, and mostly certain lineage of the Artificial Intelligence that is not so ’social architecture oriented’, but is investigating intelligence of the biological systems. So, it creates totally different parallels of understanding the intelligence. I think that ‘digital’ is in a recursive loop to influence dance practices.I would say for so many instances, what we call new media or technology, that if we have to think about it – the actual manifestation of behavioural media, which is dance in a way, is there in robotics too. Or, I would say, like I called ‘Dance-Tech – interdisciplinary explorations on the performance in motion’, it would be really interesting to understand the phenomena of motion.In dance we can think, you know, that there is a motion; then a motion picture – there is motion in the media, there is motion in robotic device… At the same time we have to understand a lot ourselves, to understand how we perceive motion. We have agencies for a certain kinds of motion. I think that digital technology is allowing a lot of really interesting simulations, really interesting feedbacks.Dance scene is now using gadgets for playing in order to express themselves…MBS: The one that made practically big WOW in the nineties was the gestural console media. Let’s say, someone or a performer were able to perform a certain kind of movement and immediately were able to map certain consequences or certain repercussions, or reactions of the media. So, that is right now practically given, we have kids playing, there are a lot of video games with video tracking, etc. Yeah, I think that is very interesting what artists are doing itself or as result of interesting collaborations. But at the same time these extremely forces are emerging jobs because technologies are available to practically everybody.…and it’s free!MB: Yeah, that is also very important factor, affordability of technology right now. They are creating autonomies of landscape. Affordability and accessibility of modern tools and then open source.Something that you were able to do with maps in eight years ago now you have more approachable tools and software that can literally get to the community and accessing it, or make a processing simpler. Also development of Macintosh computers, I mean at the beginning they were expensive, they still are. But it created a completely new landscape for experimentators that were reserved only for certain formal institutions.That’s how dance technologies started, from the field of universities. Because universities were getting these big grants and they were the only one able to have these labs. ‘Motion capture’ is something that is still developing within this complex. You know, motion capture still belong to the ground of formalized researchers and organizations that have resources. Video tracking and the use of movement tracking or multi-tracking recognition are much more available and affordable technologies.

IMCT Projects, The Dance Technology Project (1999)

But the comprehension of new media art also helped a bit to this situation…MBS: So, there are all these factors, you know, I think that media art is now much more understood, it’s a well understanding form, I think. Now is practically a common place to have a video in many performances, so no one is thinking that it’s such odd thing to have a virtual character or so. You know, even interactivity as such has lost interest for some people. But, there are people who are doing interesting researches in the field.So, it’s a different landscape now, and there is a lot of choreographers not being specific on the dance floor which are doing technological experiments and they are calling themselves in terms of ‘dance and technology’. They are just inspired by these kind of technologies and tools. And that is very interesting thing, because it’s mostly self-reflective. For years technologies were divided, and now they are existing and co-relating parallel. Now, we can say easily: Yeah, we can do that!Read the second part: Interview with Marlon Barrios Solano: On Dance-Tech and dance embodiment, part ll(Originally published on Personal Cyber Botanica: www.lomodeedee.com)
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