lab (6)

Hey all,

since 2013 our dance research project “Motion Bank” has been organising “Choreographic Coding Labs 1” (CCLs). The format … »offers unique opportunities of exchange and collaboration for digital media artists (you?) who have an interest in translating aspects of choreography and dance into digital form and applying choreographic thinking to their own practice.« To illustrate what we mean here is a short documentation from our CCL in NYC in 2015:

The upcoming edition is very special as it is A) happening in Mainz, Germany, where the Motion Bank project is now based and B) is part of a larger funded (by Kulturstiftung des Bundes) cooperation of Motion Bank, Kunsthalle Mainz and Staatstheater Mainz. The collaboration, which is called “Between Us”, deals with the exchange and transformation of knowledge from and between the participating disciplines: art, dance and science. Not only will the CCL mark the starting point of the collaboration and creation of a new dance piece by Finnish choreographer Taneli Törmä, it will also inform the process of exchange between all participating artists.

If this sounds remotely interesting to you, check our full announcement and maybe apply here:
http://choreographiccoding.org/labs/mainz-between-us-september-2018 3

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At ITP / New York University (NYU), Tisch School of the Arts

27-31 AUGUST 2015

Call for applications from artists working with code and digital media for the at ITP/ NYU-Tisch Choreographic Coding Lab.

Are you an artist working creatively with code and digital media with an interest in movement? Then come join Motion Bank and the team ITP/ NYU-Tisch for the 4th Choreographic Coding Lab where movement hackers and practitioners will be gathering to discuss and work on projects, ideas and challenges in a peer-to-peer setting.

CCL #3 - Melbourne at Deakin Motion.Lab, 2015 from participant Philip Boltt

The Choreographic Coding Lab (CCL) format offers unique opportunities of exchange and collaboration for digital media ‘code savvy’ artists who have an interest in translating aspects of choreography and dance into digital form and applying choreographic thinking to their own practice. This format supports working with patterns in movement scores and structures through finding, generating and applying them with results ranging from prototypes for artworks to new plug-ins for working with dance related datasets. The CCLs also seek to support a sustainable collaborative practice among its participants encouraging ongoing exchange in a growing artistic research community.

CCLs are an outcome of 
Motion Bank, a four-year research project of The Forsythe Company focused on the creation of digital dance scores with guest choreographers. This research involved the study, documentation and analysis of unique choreographic approaches, and the datasets and tools used behind the development of the Motion Bank scores will be made available for the CCLs including an installation of Piecemeta / Piecemaker2. These systems hold and serve the data from Motion Bank and previous CCL recordings.

With their reputation for fostering curiosity, supporting agile 'light weight' design research and forging collaborative working pathways between disciplines, 
ITP/ NYU-Tisch is an ideal host for the organisation of the CCL. The week will be enriched by interactions with experienced local choreographers and members of the Motion Bank research team. The organizers of the CCL will facilitate internal exchanges, documentation and open-door moments. The ITP/ NYU-Tisch space and equipment will be freely provided.

Pathfinder

Pathfinder tool from CCL #1 participant Christian Loclair (princemio)

There is no fee (or payment from our side) for participation, but applicants are asked to propose starting points and ideas. Collaborative teams involving coders, choreographers, object, sound and filmmakers interested in the Motion Bank research are encouraged to apply. A selection will be made to ensure the right balance of participants and what they bring to the lab. The application deadline is 8 June 2015. Participants will arrive and gather on the evening of 26 August for an informal get together, then begin exploration in the lab on 27 August.

Go directly to the application form:
http://choreographiccoding.org/content/application-form-nyu-ccl-4-august-2015

Contact with questions about the ITP/ NYU-Tisch facilities:
Mimi Yin (mimi.yin@nyu.edu)

Contact with general questions about participation:
Florian Jenett (ccl@motionbank.org)

With the support of the Processing FoundationVVVV,CreativeApplications.net and NODE - Forum for Digital Arts
 
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5th Choreographic Coding Lab


At University of California, Los Angeles (UCLA)
14-19 September 2015

Hosted by the Center for the Art of Performance (CAP UCLA) at UCLA in partnership with Design Media Arts (DMA) at UCLA
 

Call for Applications from artists working with code and digital media for the CAP UCLA / DMA @UCLA Choreographic Coding Lab

Are you an artist working creatively with code and digital media with an interest in movement? Then come join Motion Bank and the UCLA team for the 5thChoreographic Coding Lab where movement hackers and practitioners will be gathering to discuss and work on projects, ideas and challenges in a peer-to-peer setting.

CCL #3 - Melbourne at Deakin Motion.Lab, 2015 from participant Philip Boltt

The Choreographic Coding Lab (CCL) format offers unique opportunities of exchange and collaboration for digital media ‘code savvy’ artists who have an interest in translating aspects of choreography and dance into digital form and applying choreographic thinking to their own practice. This format supports working with patterns in movement scores and structures through finding, generating and applying them with results ranging from prototypes for artworks to new plug-ins for working with dance related datasets. The CCLs also seek to support a sustainable collaborative practice among its participants encouraging ongoing exchange in a growing artistic research community.

CCLs are an outcome of Motion Bank, a four-year research project of The Forsythe Company focused on the creation of digital dance scores with guest choreographers. This research involved the study, documentation and analysis of unique choreographic approaches, and the datasets and tools used behind the development of the Motion Bank scores will be made available for the CCLs including an installation of Piecemeta / Piecemaker2. These systems hold and serve the data from Motion Bank and previous CCL recordings.

CCL-#2 at Uferstudios Berlin - September 2014
CCL #2 at Uferstudios Berlin - September 2014

The UCLA partners are ideal for the organization of this 5th CCL. CAP UCLA has a unique commitment to the art of performance that includes support for groundbreaking boundary crossing works between the performing arts and other fields. The DMA is world renowned for their comprehensive, multidisciplinary approach to media creation that fosters individual exploration and innovative thinking. This will be the first on-campus jointly sponsored project of these two extraordinary programs.

The week will be enriched by interactions with experienced local choreographers and members of the Motion Bank research team. The organizers of the CCL will facilitate internal exchanges, documentation and open-door moments. The CAP UCLA/DMA@UCLA space and equipment will be freely provided.

Pathfinder
Pathfinder tool from CCL #1 participant Christian Loclair (princemio)

There is no fee (or payment from our side) for participation, but applicants are asked to propose starting points and ideas. Collaborative teams involving coders, choreographers, object, sound and filmmakers interested in the Motion Bankresearch are encouraged to apply. A selection will be made to ensure the right balance of participants and what they bring to the lab. The application deadline is 26 June 2015. Participants will arrive and gather on the evening of 14 September for an informal get together, then begin exploration in the lab on 15 September.

Go directly to the application form:
http://choreographiccoding.org/node/26

Contact with general questions about CCL participation:
Florian Jenett (ccl@motionbank.org)

With the support of the Andrew W. Mellon FoundationCreativeApplications.net,NODE - Forum for Digital ArtsProcessing Foundation and VVVV


Also still open for applications until mid-June:
CCL-4, August 2015 at ITP/NYU, New York

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

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

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

For more information or to submit a proposal, visit: www.wda-americas.net/conference

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Here we (*) are again. The young Art.On.Wires festival opens its doors for the second time.

Like last year, we arrived in a very warm and wellcoming atmosphere here in Oslo. Not just because the sun is shining...

Today the day starts with an introduction talk by Alexander Eichhorn, the founder of this festival. 12249504065?profile=original

The day is reserved for talks and lectures. People introduce themself and their work in general or more specific, talk a little about the workshops they will give and answer some questions.


Marko Ritter (D), co-founder of the company intolight, starts the lecture about his work and research. Intolight got a grand from the E.C.A.S. network to develope their project CHET (collective hedonistic toolkid). One part of this software mainly based on vvvv is switchboy. It's a toolkid for Vjing. You basically can do everything with it. The software will be open-source and Marko hopes for many people who will contribute new patches for switchboy in order to develope this multi-functional toolkid. You can do mind mapping, project 3D graphics, Videos and all the things a good Vj programm should be able to provide.
Marko will give a workshop together with Valérie-Françoise Vogt for vvvv - An introduction into the Multipurpose Toolkit on Thursday and Sunday.

Marko Ritter // intolight // intolight.de
Valérie-Françoise Vogt // veevee.12249504301?profile=originalde
E.C.A.S. // ECAS/ICAS
CHET // chet toolkid
Switchboy // switchboy

 

After the lunch break the talks continue with 5uper.net/DAAL and DKIA.

 

Based in Vienna Philip Fischer, Erkin Bayirli, Michal Wlodkowski, the guys from 5uper.net/DAAL, talk as well about their artist collective and their artistic-research work. Michal gives us a short overview about their projects, one is the international festival coded cultures. Erkin introduces us to 12249505663?profile=originalthe roboter plant superViVo and some other agiland mobile cybernetic plants. It's all about playfulness and an easy access to solar topics, agil cybernetic plants and gadges.
They will give their workshop on Thursday, Saturday and Sunday.

coded cultures // festival

superViVo robot // supervivo.daal.at

5uper.net/DAAL (AU) // 5uper.net
DAAL // 5uper.net DAAL

 

 

DKIA are based in Vienna as well, working and researching in the fields of media art, electronics, prototyping and sustainable innovations. In the last two years they focused on LED technology and realized several LED driven projects. 12249505866?profile=original
To just drop in some words what they're doing: web development, participating activism art, interactive talking cubes.
They gonna give a full day workshop Thursday and half day on Friday.

DKIA // dkia.at

 


 


Jacob Korn talks about his main projects over the last years, beside being a musician and producer for Techno and House music. Automatic clubbing is one of it. Now called I.D.A (interactive dancefloor application) which is a collaborative instrument. In the beginning it would run with kalypso and max.msp stand alone. He collaborates with different people to realize several performances, such as Frieder Weiß, Matthias Härtig, intolight. Next project is Harmony Universe. An instrument mainly for 12249506498?profile=originalchildren. They learn playing with music and rhythm through an interactive software and visuals on the floor (for instance). It is a collaborative instrument, so if the kids play well, it sounds well...max4life and vvvv is used for the software stuff. Another baby of Jacob is Uncanny Heroes - a workshop based development for a tool to let people interact with the sound and visuals they're confronted with in a normal party situation.

He will give a workshop for Abelton live on Thursday

Jacob Korn // jacobkorn.de
Harmony Universe // vimeo.com/9935622
Uncanny Heroes // intolight.de/projekte/uncanny-heroes

 

 

Lars Graugaard is basically talking about his great wish to have a software which does everything for him. Well, who doesn't. His longstanding research in music, working as a composer and programmer brought him to a constantly improving "organism" to make music and performances happen. One software, huge possibilities where and how to use it. Together with his students he enlarges the 12249507075?profile=originalnecessary patches for max.msp. Lars' aim is to have a flexible system to work with many different instruments and their very specific characteristics.

His workshop will be on Sunday.

Lars Graugaard // l--l.dk


After a small coffee break we continue with Jason Geistweidt (US/NO) and Brock Craft (UK).

 

Jason Geistweidt introduces us to his projects and philosophy of his work. It's all about collaboration 12249507877?profile=original and trust and communication. Working on a huge project called "world opera" Jason is connected to 6 different countries in order to create and research how to make a world opera happen. In realtime of 12249508089?profile=original course. Using video, OSC, vvvv and all you need, there is still the problem of time delay. Even if it is just about milli seconds still a lot of artists (musicians, dancers...) have problems to interact over camera to a different place in the world. Where am I? What is your time, what is mine?

Friday night there will be a linked performance with Oslo and California.

Jason Geistweidt // geistweidt.com

 

 

 

Last but not least Brock Craft talks about his work. Brock is an Interaction Designer, artist, and specialist in Physical Computing and Information Visualization. One of his many projects is "NetChimes". Basically you need a chime and a station to live stream it. Over a server you can listen to any chimes 12249508268?profile=original listed on the server. We checked it out during his lecture and it worked perfectly.

His workshop for Arduino will be on Saturday.

Brock Craft // brockcraft.com
NetCHimes // netchimes.org/

 

 

Tomorrow starts an exciting day full of interesting workshops. I'll keep you updated!

 

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(*)We is:

Marko Ritter - VVVV programmer - http://blog.intolight.de

Valérie-Françoise Vogt - graphic design - http://veevee.de

Jacob Korn - musician (Abelton, Max 4life) - http://www.jacobkorn.de/

Johanna Roggan - dancer, choreographer - www.moveonit.net

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The 7th International Interaktionslabor takes place from July 20 to August 2 on the site of the former coal mine Göttelborn in southwest Germany. This year the main focus of the workshop is on perceptual processes. The project title -Halbinseln der Wahrnehmung/Peninsulae of Perception - is a reference to a diary written by a person afflicted with Asperger’s Syndrome. The diary has been proposed as research libretto for investigations into differing perceptual channels and psycho-social research on autism, synaesthesia, music composition and real-time performance. The acoustic-musical dimension of the 2009 laboratory is complemented by research into design or wearable audiophonics and acousmatic architectures and sound perceptions. The workshop brings together artists, scientists and researchers from different backgrounds committed to sharing their experiences and catalyzing multidisciplinary science-art collaborations. Special guests in residence at the summer lab are Stefan Scheib and Katharina Bihler from the Liquid Penguin Ensemble, an experimental music-theatre group that gained wide recognition through their award-winning radio music dramas. Their latest production, "Bout du Monde," has just been selected radio drama of the month (June 2009) by the German Academy of the Performing Arts. Previously, "GRAS WACHSEN HÖREN - das biolingua Institut wir 100 Jahre alt" was awarded the prize for best german radio drama and the ARD Online Award in 2008. Their music theatre performance "Eurydike hinter den Grenzen" (2007) was shown at festivals in Luxembourg, Düsseldorf, Saarbrücken and other venues. The laboratory is organized by theatre director and media artist Johannes Birringer who founded the Interaktionslabor in 2003 and currently holds a professorship in digital performance at Brunel University, London. "We have had many inquiries this year, as our subject combines research into media arts and psychology," Birringer says, "and the lab also has a continuing commitment to challenging our assumptions about space and perceptual constructions. We look forward to the participants from Latin America, Great Britain, France and Switzerland who will join artists and educators from the region." The lab ensemble plans to create a sonic installation in the 10KV, a former electric plant on the campus of the mine. The Interaktionslabor, which went on tour last summer to Belo Horizonte, Brasil, has become increasingly well known for its unique peripheral location, its independent, autonomous status, and the transcultural partnteships it has helped to build over the years. The lab ensemble plans to create a sonic installation in the 10KV, a former electric plant on the campus of the mine. The Interaktionslabor, which went on tour last summer to Belo Horizonte, Brasil, has become increasingly well known for its unique peripheral location, its independent, autonomous status, and the transcultural partnerships it has helped to build over the years. The activities are open to visitors, and information about the proceedings and the research process can be found at http://interaktionslabor.de. Interaktionslabor is supported by private-public partnerships and donations, and by the IKS IndustrieKultur Saar. Photo credit (c) Zeitgenossen/dans sans joux
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