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Zis Landmass Zat Loov

Baywood, CABaywood, CAMontaña de Oro, CA (Spooner's Cove)Bishop's Peak, San Luis Obispo, CAMorro Bay (Morro Rock), CASan Luis Obispo, CA1.4.2009Wow, I can’t believe I have not written. Life really does fly by. I have been the laziest son well… daughter of a bitch. (That sounds bad... sorry mom.) I mean I’ve been doing a lot… a lot of hanging out. A lot of exercising and be in my optimum dancer body, sans studio and indoor rehearsals... A lot of buying things that I don’t need, then going through my storage unit and keeping everything. I am trying to get rid of some nick-knacks and sentimentalities, but it’s not working. I look at the things I own and think… “Someday, when I have a house, I will put this in it somewhere and use it.” I don’t want to bring anything back to NY because my roommate will just throw it away. I can’t trust him around objects. But I can’t keep all of my things in a vault.Everything has been in storage for almost four years. That’s a long time to be separated from a life that was not quite right--without a thorough visitation. Graduate school was such a dream. Things were set-up and people just did a lot of thinking and made art and worked on papers. It was really hard, I don’t want to make it sound simple or easy… I honestly thought it would lead me to something, like a job. I’m still trying to understand what I gained from my experience there, besides debt. I know. I remember now. One of my crucial decisions in going to school there was because it was close to my grandparents.......I keep asking myself what’s wrong with me? The past 8 months on the road those questions surface… what’s wrong with me? For many years it is easy to blame others for personal or professional misfires, but when one spends so much time alone that question is both surprising and inevitable amidst the bliss of such a trip. The travel. The life. The past 8 months have been the best of my life, which states much. I have traveled in Nepal and hiked in the Himalayas. I have spent three-months living in London and a month in Vienna at a fantastic dance festival. And many other events which could lead to a full anthology of Berkeley, Olympia, Seattle, Portland, Columbus, San Luis Obispo and now New York/Brooklyn/Dominicahassidica.The past months brought me something that I have been missing my whole life, a true connection with this landmass. I was able to see such amazing natural beauty, ponder the people of this land, spend time with Isadora, go wherever I wanted when I wanted, and figure my artistic body and expand my choreographic voice. The independence was exhilarating. In NY I am depressed roughly fifty-probably-sixty percent of the time, while traveling, toward the end, when I was used to seeing new things all the time and could anticipate my encounters, then my depression entered the van. That’s when I stopped blaming anyone else but myself. The depression changed into a puzzle. What did I do? How could I change it? Could I change anything? Do I care? I like the way I am, why would I want to change? I am still pondering these things and wondering if the energy I put into thinking about other people is a personal barrier. Or is it just the way I look? I’ve wondered that too. I’m not pretty, I’m not ugly; although, I know can be beautiful in the right light. My body is not great. Perhaps I’m just so averagewowmid-sentence I fell asleep for 45 minutes. Not very interested in non-existent issues. Many other things to think about, or just sleep. Sleeping is an entirely acceptable place to go when pondering one’s own looks.Onward and outwardMorro Bay (Morro Rock), CAAvila Beach, CASan Luis Obispo, CA... Sunrise... with Isadora
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Yanira Castro+Company is at Dance Theater Workshop.this weekend. I went last night and it really creates a dynamic space within the DTW theater. She transformed DTW theater in a space that reflects the instability and energy of puberty and gestation. I enjoyed a distributed way of integrating the musicians (directed Castro and Stephan Moore) within a changing world of analog sounds and digital processing, from 8bit game toys to real vacuum cleanrs. It is surprising and quotidian. The musicians radicalize the space with their deliberate and simple actions creating a counterpoint of movable nodes. The space became a changing body flooded by "hormonal sounds". The space danced! I you go please comment here!! Yanira Castro + Company Photographer: Julieta Cervantes Title: Center of Sleep Choreography: Yanira Castro, in collaboration with performers Venue: Dance Theater Workshop Date: February 26, 2008 Performer Credits Luke Miller (audience watching) Joseph Poulson, Heather Olson, Luke Miller Watch interview with Yanira Castro:
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DTW consolidates as an institutional Friend! Dance-tech members receive 40% discount on tickets to Dance Theater Workshop. Mention the code DT40 and bring valid proof such as a Dance-tech profile page printout, Union card, or a postcard/program from a recent performance or collaborative project. All discounts are one per person. Discounts must be requested at the time of purchase, cannot be issued retroactively, and cannot be combined with any other offer. NOTE: this is one of the reasons that you must put your complete name and actual picture in your profile! This benefit id only valid for individual members.
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Short interview with Taeyoon Choi on his project Camerautomata developed at Eyebeam as an artist in residency. From Eyebeam's website: Taeyoon Choi is a Seoul-based artist working with performance and digital media. Choi’s works intervene into urban media spaces humorously, in order to deliver critical commentary on contemporary digital culture. Choi is involved in interdisciplinary collaboration with various networks and collectives including: FunOut Urban Game Inc, DOTPLAY Mobile Hacking Workshop, and Upgrade! Seoul. Choi earned a B.F.A at the School of the Art Institute of Chicago, and completed a M.S. at the Korea Advanced Institute of Science and Technology. For the 2008 Eyebeam Commission, Choi will create Charlie: Camerautomata, a duck-shaped robot built from the hacked electronic components of a digital camera and photo printer, which consumes and defecates images in public spaces at its own will. http://tyshow.org
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I visited Eyebeam's reception for several fellows. Friedrich Kirschner presented a prototype of one of his recent projects as Production Fellow. From Eyebeams's website: Friedrich joins Eyebeam as a fellow in the Production Lab. He is also a filmmaker, visual artist and board member of the Academy of Machinima Arts and Sciences, and re-purposes computer games to create animated narratives and interactive performances. Friedrich’s work has been shown and performed at various international animation festivals and it occasionally spreads into the physical realm as well, where he investigates the impact of milk and other liquids on computer graphics. http://www.zeitbrand.de/
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I had a lot of fun dancing to the music created by Bubblyfish with loops payed from several Gameboys. Sorry that I had to change the soundtrack! the sound levels of my camera were too high so lots of distortion. That is her music anyway...

MIXER, Eyebeam’s new series dedicated to showcasing leading performing artists in the fields of live video and audio. In addition to live performance by video artists, musicians, VJs and DJs, each MIXER event will present new interactive work by Eyebeam artists that encourages audience participation and creative play. Hybrid in format, and Eyebeam in spirit—collaborative, spontaneous and a little off-the-wall—MIXER will electrify Eyebeam’s Chelsea warehouse for a Saturday night quite unlike any other. Media sponsor: The Onion. Liquor sponsored by Newcastel Brown Ale and Kronenbourg 1664 http://www.eyebeam.org/about/news/022008.html http://www.eyebeam.org/
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"stylishly sexy" — The New Yorker “I’d settle for more choreographers as hip as Laura Peterson” — danceviewtimes (New York, NY) - Dance New Amsterdam (DNA) is pleased to present Laura Peterson Choreography in the premiere of Electrolux, choreographed by DNA Artist in Residence Laura Peterson to music by Led Zeppelin. Performances are Thursday–Saturday, March 27–29 at 8:00 p.m. and Sunday, March 30 at 3:00 p.m. in the theater@DNA located at 280 Broadway (entrance at 53 Chambers St.). An opening reception will precede the performance on Thursday, March 27 at 7:00 p.m. Imagine the kind of luxurious carpet that retains the marks of a vacuum cleaner. Every step destroys its plush perfection. Performed by Kathryn Harris, Kate Martel, Christopher Hutchings and Laura Peterson with costumes by Charles Youssef, Electrolux is about environment, texture, garbage -- and carpet. Laura Peterson is a NYC-based dancer, choreographer and Artistic Director of Laura Peterson Choreography. She received a 2007 Mondo Cane! Dixon Place Commission. Her dances have been presented throughout NYC, other US cities and produced internationally in Argentina and Germany. Her work has been performed at Lincoln Center Out-of Doors and Jacob’s Pillow Dance Festival, and commissioned by DROP Dance in Boise, Hartford Ballet and Pennsylvania Ballet. In 2004 LPC was a guest performing company at NYU’s Tisch Summer Dance Program. Her performance credits include Julie Taymor’s film, Across The Universe, choreographed by Daniel Ezralow. She has performed the work of Mark Morris at Radio City Music Hall, and has danced with Risa Jaraslow & Dancers, Poppo & the GoGo Boys (NYC), Paule Turner’s c o u r t (Phila), Group Motion Dance Co (Phila), and Asimina Chremos (Chicago). Laura Peterson holds an MFA from NYU’s Tisch School and a BFA from University of the Arts. She has taught at Western Connecticut State University, Rowan University and has been a guest teacher at Hunter College.
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EMBODIED TECHNE SERIES Eposide 1 An interview with dance improvisation artist, lecturer and researcher on improvisation and perception (Tunning Scores) as one of the "Embodied Techne Series". She takes us across her experiences with dance, movement studies, psychology of perception (J.J. Gibson) and her experience with video. Conducted in New York by Marlon Barrios Solano (February 15/2008) and video editing courtesy of Ashley A. Friend. LISA NELSON is a dance-maker, improvisational performer, videographer, and collaborative artist who has been exploring the role of the senses in the performance and observation of movement since the early '70s. Stemming from her work with video and dance in the '70s, she developed an approach to spontaneous composition and performance she calls Tuning Scores: a communication format for ensemble performance that she presents as site-specific Observatories. She performs, teaches, and creates dances in diverse spaces on many continents, and maintains long-term collaborations with other artists, including Steve Paxton, Daniel Lepkoff, videoartist Cathy Weis, and Image Lab, a multidisciplinary research/performance ensemble. She received a NY "Bessie" Dance and Performance award in 1987 and an Alpert Award in the Arts in 2002. For 30 years, she was co-editor of Contact Quarterly, an international dance and improvisation journal, and directs Videoda, a project for videotapes of improvisational dance. She lives in the mountains of Vermont in the U.S. Video images from workshop organized by Movement Research http://www.movementresearch.org/ Thank you!
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Tonight, I attended a very stimulating evening of performances as part of the Performance Mix Festival. Cynthia Hopkins, Karen Bernard, Layard Thompson, from New York and Nathalie Claude from Montreal delivered layered, sensitive, clever and shamanic performances with humor and sophisticated craft. Queer warriors mixed with holly madness, reflexions on mortality mixed with time/space travel. A trip! I was taken by the complexity, risk and the evocative power of their presence. It was an evening of edges and impossible stories about our human and post-human deliriums. Performances until April 5th!
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dance-tech.net went to Eyebeam's Mixer party. This is a short video showing visitors interacting with drawn - an installation for hands and ink, zachary lieberman (2006) From Zach's website: This project presents a whimsical scenario in which painted ink forms appear to come to life, rising off the page and interacting with the very hands that drew them. Inspired by early filmic “lightning sketches,” in which stop-motion animation techniques were used to create the illusion of drawings escaping the page, drawn presents a modern update: custom-developed software alters a video signal in real time, creating a seamless, organic and even magical world of spontaneous and improvised performance of hand and ink. http://www.thesystemis.com/drawnInstallation/index.html MIXER, Eyebeam’s new series dedicated to showcasing leading performing artists in the fields of live video and audio. In addition to live performance by video artists, musicians, VJs and DJs, each MIXER event will present new interactive work by Eyebeam artists that encourages audience participation and creative play. Hybrid in format, and Eyebeam in spirit—collaborative, spontaneous and a little off-the-wall—MIXER will electrify Eyebeam’s Chelsea warehouse for a Saturday night quite unlike any other. Media sponsor: The Onion. Liquor sponsored by Newcastel Brown Ale and Kronenbourg 1664 http://www.eyebeam.org/about/news/022008.html http://www.eyebeam.org/
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dance-tech,net went to the opening of FEEDBACK@eyebeam. This is the description of the show: Eyebeam’s expansive new exhibition, FEEDBACK, surveys artists, designers, architects and engineers on the topic of sustainability, and presents their responses—19 projects varying from public art projects and industrial design to DIY energy solutions and software tools—to inspire discussion and action on this pervasive (and increasingly commodified) subject. As the culmination of Eyebeam’s Beyond Light Bulbs programming series, the show highlights the concerns, interests and work of Eyebeam’s Sustainability Research Group, with work by individuals, collectives, students, local community groups and the Eco-Vis Challenge winners. Free, artist-run workshops are integral to the exhibition’s design and are scheduled Saturdays throughout the show’s duration. I am curious about the kings of works are emerging in dance and new media dealing with ecology and sustainability?
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Short video of some pieces at the Moma in NYC. It was not allowed! Emergent Surface by Chuck Hoberman https://www.youtube.com/watch?v=fsD6p7OXfA8 http://www.seedmagazine.com/news/2007/06/seed_salon_lisa_randall_chuck.php Technological Dreams Series N.1 by Anthony Dunne and Fiona Raby http://www.we-make-money-not-art.com/archives/2007/03/-your-works-exp.php Shadow Monsters by Philip Worthington https://www.youtube.com/watch?v=g0TOQo_7te4 http://www.moma.org/exhibitions/exhibitions.php?id=5632 Flickr photo set here See a very cool website companion of the exhibition. Very good! Closes this week!
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Interview with Karen Bernard director of new dance alliance and producer of the Performance Mix Festival in NYC http://www.newdancealliance.org/about-pmix.htm She also shred with us a video with excerpts of performances in the festival from 1992. There are performances of many NY downtown now well known dance, performance artist and choreographers. I will upload it later today. About the NDA: Formed in 1979, New Dance Alliance (NDA) is a non-profit tax exempt arts service organization whose mission is to actively promote emerging forms of innovative dance, video, music, and interdisciplinary performance work. NDA was founded to support an artistic community with limited institutional resources, and to provide this community with increased opportunities to share experimental works with the public. Today NDA remains dedicated to its founding principals and has expanded its programming to include services that enable artists’ career advancement.
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Conference March 6-7 New York University Radars and fences, satellites and walls, networks and bunkers. Two different sets of technologies confront us: the former epitomize the selective and flexible character of what Gilles Deleuze termed the “societies of control”; the latter embody the “old” disciplinary paradigm based on separation, physical mass containment, and restriction of the freedom of movement. Most of the times control and discipline coexist ad reinforce each other; sometimes they seem to collide. This is due to a variety of far-reaching factors and transformations occurring in the productive sphere. As a matter of fact, it is the very structure of the network society, with its decentralization of tasks and constant multiplication of electronic eyes that threatens the opacity of physical and immaterial bunkers. By looking at the grey areas where control and discipline, transparency and secrecy, democracy and the state of exception overlap and collide, Radars and Fences provide a cross-disciplinary platform whereby researcherstists, journalists, filmmakers, and activists can negotiate new and critical p, arositions. Go to conference site
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