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Norsk Festival for Dans Og Film 2012

"We drank wine, watched porno films, danced as though we were dancing contact improv or working for Forsythe, Kylian, Anne Teresa de Keersmaker, " said the charismatic dancer Jordi Cortes Molina about his collaboration with Daniel Munoz in the making of COUP DE GRACE based on two men whose friendship was brought to an abrupt stop - only to be tested again after 40 years. "We tried everything to get to all the layers of the friendship of these two men with their long long history together. Every day, we'd improvise, sometimes for 3 hours straight, continuing until one of us called to stop."

Molina was a font of information and insight about the challenge of making dance films in our Artists Chat, here in the charming city of Haugesund, pop. 25,000, in the Norsk Festival for Dans og Film. Now in its third year, this dance film festival has the distinction of being developed with the support, from its inception, with The Norwegian International Film Festival now in its 40th year. Anne Jorunn Salhus and Rikke W Lie started their Dans Og Film Festival in 2010, but sadly Anne passed that year. The screenings were primarily on the 4 screens of Edda Kino as well as the Maritim Hotel. This year's festival had the distinction of presenting 4 Norwegian premieres with the opening film being KON TIKI.


12249544870?profile=originalThe screening in Haugesund of COUP DE GRACE directed by Clara van Gool, shown at Dance on Camera Festival 2012 in NYC, was a highlight of Dans Og Film, along with the screening of other old favorites such as HORIZON OF EXILE, ONE FLAT THING RE-PRODUCED, and a new short involving a staggering about of post-production from USA,  SOLIPSIST by Andrew Thomas Huang, noted by Creativity Magazine as a Director to Watch. Jordi revealed how close he was to Clara van Gool, with whom he had made 6 films. When he worked for DV8, he made 2 films with David Hinton, STRANGE FISH and TOUCHED. Quite relaxed and warm in person, Jordi often appears imperious and domineering on screen. He confided that he had to learn to do much less for the camera and slow everything down. He currently is fascinated by the idea of body memory, exploring fossils as a catalyst for a new project. He begins in September to direct a documentary in Barcelona about his work with the disabled.

Dans og Film Festival ran August 19-21, 2012, offering screenings, 4 day workshop with Peter Jasko and Milan Herich from the Brüssels based Les Slovaks dance collective, artists chat, and the lecture/screening of my "100 Years of Dance on Camera."

For more information, see http://www.nf-df.no

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Thursday, January 24, 3:30 – 5:00 p.m., Room 165 Thompson Library 


Marlon Barrios Solano (creator and producer of dance-tech.net, dance-tech.tv and more than 400 video interviews and webcasts) will share his experience on developing horizontal architectures for knowledge production, exchange and distribution afforded by the new internet and portable technologies. His projects explore social networking and internet video production and distribution, live video broadcasting, online curatorial strategies and tactics, collaborative creativity/learning and mobile augmented reality technologies. He investigates the internet as a participatory creative ecosystem and as a space for social innovation and collaborative action. He interfaces and recombines the crowd and the cloud within hybrid knowledge landscapes.

co-sponsored by the Digital Arts and Humanities Working Group, Humanities Institute and the OSU Libraries.  

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Remembering Enrique Morente

I am so upset that the great flamenco artist Enrique Morente Cotelo just died, Monday, December 13, only 12 days shy of his birthday.


What a gift he had. He could make your guts burn with only a few notes. And he experimented with so many forms, always excelling.


Why do so many of the great & talented always seem to die young? Is it because someone upstairs says - "OK. You've done all you possibly can to remind the rest of them that the mysterious forces of nature are always there, available to be tapped."


Born on Christmas Day 1942 in Granada, Spain, Enrique Morente began his career in Spain in the mid-1960s, and performed at the Spanish Pavilion of the 1964 World’s Fair in New York and again in NY in recent years at BAM and Lincoln Center. Mr. Morente’s survivors include his wife, Aurora Carbonell, a dancer; and three children, one of whom, Estrella Morente, who is my favorite performer in Carlos Saura's latest film FLAMENCO FLAMENCO that Dance on Camera Festival will show on January 29, 2011.


“I like doing what comes from inside,” Enrique Morente told The Boston Globe in 2003. “If that means I’m innovating, it’s pure coincidence.”

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Art.On.Wires Festival Oslo 2010 - day 2

May 11th

As a festival like this, or maybe every festival, it is always a contact-making-connections-pool.

A possibility to get to know other fields of art/artists which could or do collaborate in order to create new art (pieces).
Along those lines the day yesterday ended in an open space introducing the people who give the workshops.
Everyone who was interested in talking a little about their work, their art-approach, projects etc. got a microphone in his/her hand and could give a glimpse into their life to the audience.

Today we(*) started our workshop for interactive environments. Talking about recent projects and showing some video material to expose the listener to some ways of making use of the system/environment.
I was talking about the need of finding a common working-language. Just by trying to understand the other participating project-developer. Which means, everyone creating a performance (for instance) should move a little in the interactive space, should look over the shoulder of the musician, try to comprehend the graphic program or install the camera system. Within this crossing the boarders you bring everyone to a point of equality. There you have a chance of a communication which eventually will lead to an artistic output with hopefully some semantic comprehensible line for the audience.

Across the hall where the festival happens, Alexander Carot ( http://www.carot.de/ ) is giving his workshop on a software he developed to enable musicians to rehears and perform together without meeting in real person. Having the problem of delivering the sound with a delay he invented his software “Soundjack” ( http://www.soundjack.eu ).

Another interesting workshop deals with kids toys. Through soldering components together they create the weirdest sounds. After everything is put together, you just press buttons and the sounds come out of a toy. Very funny one.
( http://www.daal.at/ )

After a very intriguing key note by Mark Coniglio about his work, he is giving a workshop on the software Isabora, which he invented himself.

In his lecture he was talking about some art pieces which work with the matter of fact that we are the number one in our life.

I am - is the most used expression in Skype chat.

When we use interactive environments we are fascinated by the music I can create because I move (or graphics etc).

Mark introduced us to one of his recent works "loopdiver". Loopdiver was created with the Isadora software.

They basically filmed a dance phrase from 6 different ankles and then cut them apart and together in all possible orders. In addition they put loops on top with different durations and so on.

At the end, the dancer had to learn what they created with the software.

( http://www.troikaranch.org/vid-loopDiver.html )

In one corner you could see a huge table with stooped people around again soldering something together. The goal was to built a small LED Gadget/Screen with a USB connection which can be fed with any information you want. Some of the components just need to get a software, which has yet to be written.

( http://www.daal.at/ )

Before dinner time I was sitting together with some people and Frode Volden (docent for cognitive psychology and human interface design at Gjøvik university) for a so called focus talk.

The question to discuss was on perception of quality. What does it mean to us. How do we use it in a artist approach.

This focus talk is used as a platform to develop a new vocabulary in the field of audio-visual cognition in order to find a way to measure quality. To install parameters and make technology/interfaces more effective, better designed for an intuitive use, to simply define it with its own words/vocabulary.

A few statements shall be listed here

- in the moment there is human energy invested it has a high level of quality

- everything containing passion has high quality

- that would be nice

- it is a matter of (expert) knowledge if you receive something as high or low or no quality

- it's a matter of content

- don't mix high and low quality components

- but "south park" does it

- does technology helps to raise the level of quality?

- depends on the use of it

- restrictions within the use of technologies can be useful

and so on.

Frode Volden was mostly listening, making some notes and asking some questions.

Even that we all came from a very different background (musician, dancer, wearable LED artist, VJ, programmer) we were able to talk on an equal level. We made similar experiences and so had a platform of communication in a high quality ;-)

After dinner there will be a concert with Alexander Carot.


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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Early Deadline: December 16, 2009Final Deadline: January 15, 2010Celebrating our 9th annual dance film festival, Dance Camera West welcomes dance media in any dance style or genre. Categories include: screendance, movement based film, short films, features, documentary, installations, and interactive dance media.Dance Camera West’s June 2010 festival will feature an international selection of dance media and special screening events throughout the month at prominent Los Angeles venues such as Walt Disney Concert Hall’s REDCAT Theatre, Hammer Museum, American Cinematheque, Cheviot Hills Recreation Center, and several new venues to be announced.We look forward to seeing your new work!Entry forms and guidelines available at: www.dancecamerawest.org/submit.htmPlease direct questions to: festival@dancecamerawest.org
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TenduTV announces the launch of the digital Dance on Camera Festival on Hulu, at www.hulu.com/network/tendutv. The digital Dance on Camera Festival is an extension of the Dance Films Association's Dance on Camera Festival (DOCF), which it has produced annually for the last 38 years, the last 14 of which have been co-presented with the Film Society of Lincoln Center.

"This new venture presents an exciting opportunity for dance film artists to expand their audience. The bulk of today's viewers consume their media digitally. Our partnership with TenduTV widens our distribution while offering an excellent, new venue for our participating artists," said Deirdre Towers, artistic director of Dance Films Association.

"We're excited to take this first step forward towards meeting the needs of the dance field. Finally, dance audiences can begin to get the access they eagerly desire. The Dance Films Association is a great partner and we're looking forward to doing all we can to help them fulfill their mission," said Marc Kirschner, General Manager of TenduTV.

TenduTV will be adding new films on a regular basis, providing viewers with a diverse range of dance on screen. While the initial films primarily represent contemporary works from prior editions of the festival, the Dance Films Association and TenduTV will also curate focused collections of dance films. Planned themes include "Past Masters," "Africa" and "Animation."

The first six films are available now, and feature dancers from some of thedance world's most renowned companies, including Tanztheater Wuppertal, Frankfurt Ballet, the Metropolitan Opera Ballet and Armitage Gone! Dance.

These films are:

Arcus, a jury prize nominee, DOCF 2004
directed by Alla Kovgan and Jeff Silva

Arising,from DOCF 2009
directed and choreographed by Ben Dolphin

FoliesD'Espagne, a jury prize nominee, DOCF 2008
directed by PhilipBusier
choreographed by Austin McCormick

Madrugada,from DOCF 2005
directed by William Morrison
choreographed byDeborah Greenfield

Vanishing Point, DOCF 2009
directedby Patrick Lovejoy

Wiped, Jury Winner, DOCF 2002
directedand choreographed by Hans Beenhakker

TenduTV also announced the addition of Cory Greenberg to its advisory board. Ms. Greenberg is Director of Operations & Special Projects for Alvin Ailey American Dance Theater, as well as Ailey's in-house counsel. She received her undergraduate degree cum laude in Art History from Duke University and her law degree from New York University School of Law, where she was an Arthur Garfield Hays Civil Liberties Fellow and a recipient of the Vanderbilt Medal for Public Service.

About TenduTV

Founded in 2008, TenduTV seeks to deliver dance to audiences through the highest quality digital distribution network available to the art form today. Through TenduTV's platform partners, dance artists and organizations will be able to transport their vision beyond the physical theater and engage audiences through computers and 200 million digital devices including internet-enabled televisions, portable video players and mobile devices. By empowering artists to connect with audiences on a global scale, TenduTV believes that the dance field can be as strong financially as it is creatively.

About Dance Films Association, Inc.

Dance Films Association, Inc. (DFA) is dedicated to furthering the art of dance film. Connecting artists and organizations, fostering new works for new audiences, and sharing essential resources,
DFA seeks to be a catalyst for innovation in and preservation of dance on camera. DFA was founded by Susan Braun in 1956, and included Ted Shawn, the founder of Jacob's Pillow, as its charter member, as well as modern dance pioneer Jose Limon and ballerina Alicia Markova as members of its first Board of Directors. A tireless advocate, Ms. Braun devoted her life to finding, showcasing, preserving dance films and videos until her death in 1995. Today, DFA seeks to carry on her spirit of creativity and collaboration in a time of extraordinary transformation.

For more information, visit www.dancefilmsassn.org and www.tendu.tv.


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Right in the middle of a world-wide tour that's taking the best of moves09 as far as Glasgow, Australia, Hungary, Spain, Brazil or Russia moves returns to the North West. Showcasing the most recent and fascinating works that examine movement on screen moves will takeover the renowned cultural centre The Bluecoat (Liverpool) from 21 to 25 April 2010.Established in the North West of England, moves is the largest exhibition platform in the UK for experimental short film and new media with a unique focus on movement on screen, exploring new ways of telling stories through films, installations and screen-based works.moves10 is preparing for its 6th edition in April 2010 with a new and exciting programme going more international than ever and presenting work indoors and outdoors, featuring international screenings, talks, interactive installations, workshops and live events.OPEN CALL FOR ENTRIESDeadline Sunday 13 December.NEW!PRIZE This year you can win a tour across Europe to present your work with the Alternative Routes Award! (see below)moves is now inviting artists to submit their work for inclusion in the 2010 festival programme.moves10 expands the open call and welcomes screen-based installations as well as films and papers exploring movement through its context.The works must have been completed from January 2008 onwards.THE THEMEUnder the theme “Framing Motion”, the festival will explore how practitioners choose to frame movement through their choice of setting and context, viewed through the eyes of the director, choreographer, animator,... in defining the boundaries for screen-based works. These can be real worlds or imaginary, abstract, impossible or augmented environments defined by a specific visual intent.In looking at methods of capturing a sense of pulse and energy, we also investigate definitions of stillness. Rather than contradicting our central motif, it is the dialogue of pause-and-release through which motion occurs: capturing - if only for a moment - the essence of life ablaze.ALTERNATIVE ROUTES AWARDmoves is part of Alternative Routes, a European network to encourage the transnational circulation of artistic and cultural works, developing a new route for experimental screen-based work in collaboration with three festivals in Hungary, Iceland and Portugal.By participating in moves10's open call, you and your work enter the Alternative Routes competition with a chance to become part of this exciting network and tour to the partner festivals across Europe!If your work is successful the selection committee will either nominate you for the Alternative Routes PRIZE or the Alternative Routes TOUR.AR Prize: Alternative Routes will take you and your work as far as Iceland, Hungary and Portugal. The prize is a great opportunity to present your work across Europe, meet other artists, visit and get to know other organisations, and promote your work to industry people on international level.AR Tour: Alternative Routes will take your work on tour and showcase it across Europe, using moves (UK), 700IS (Iceland), FRAME Research (Portugal) and INTERMODEM (Hungary) as platforms.note: only Europe-based artists are eligible to enter the AR award.Read more about Alternative Routes here.Submission forms can be downloaded on www.movementonscreen.org.uk.Deadline: Sunday 13 December 2009.Experience, create, debate and tour your work celebrating with us 6 years of moves!
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TRENCH is screening athttp://www.movementonscreen.org.uk/moves returns to Manchester and the UK from 23 to 28 April 2009.Now in its 5th year, moves is established as the largest exhibition platform in the UK for experimental short film and new media with a unique focus on movement on screen, exploring new ways of telling stories through films, installations and screen-based works.2008 was the year of music, questioning the interaction of sound and movement on screen; moves09 will be looking at stories beyond movement, exploring the narrative possibilities of movement on screen through screenings, installations, live events, open-source forums…moves is the largest exhibition platform in the UK for experimental short film and new media with a unique focus on movement on screen, exploring new ways of telling stories through films, installations and screen-based works.Wherever you live, you can catch moves:in Manchester and the North West with a 6-day festival exploring movement on screen through screenings, installations, workshops and open-space forums;in the UK on the BBC Big Screens and in selected venues such as Sadler's Wells and Glasgow CCA;worldwide with a year-round tour taking moves' favourites as far as Hungary, Russia and Brazil.

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4 award-winning filmmakers share their viewpointsgenerously subsidized by Dance New AmsterdamJanuary 6-9, 2009 2-4pm@ Dance New AmsterdamSave 10%! Pre-register for the workshop at DNA280 Broadway, 2nd Floor (Chambers St)212-625-8369Take advantage of this unique opportunity for professional developmentStudy each day with a different artist
Jan 6-Ben Dolphin (director of ARISING) Jan 7-Alla Kovgan (co-director of NORA)Jan 8-Daniel Belton (director of MATCHBOX and AFTER DURER)Jan 9-Douglas Rosenberg (co-director of OF THE HEART)
Workshop co-ordinated by Ellen BrombergThis four-day workshop features the perspectives of four well-known dance filmmakers with very diverse backgrounds. Each day of the workshop will begin with a screening of one of the filmmaker’s short works, which will act as a springboard for discussion, and upon which experiential exercises will be constructed for the students. The workshop seeks to provide four differing perspectives on seeing and crafting the moving body through the lens of the camera.FeesCIC Students: $16 cl/$48 wksp (-10% = $43)DNA members: $25 cl/$100 wksp (-10% = $90)DFA members: $30 cl/$120 wksp (-10% = $108)Non DNA & DFA members: $35 cl/$140 wksp (-10% =$126)Pre-register for the workshop save 10%

Work sample of Alla Kovgan

SOMA SONGS (7' version) Daniel Belton and Good Company

Venous Flow: State of Grace by Douglas Rosenberg

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Moves08www.movementonscreen.org.ukThe Movement on Screen Festival (short moves08) took place in Manchester and Lancaster from 22nd to 26th April 2008. Here is my little summary of the event for anyone who – unfortunately - could not make it because you really missed something. It was simply awesome! Pascale Moyse, Festival Director of Moves08, pulled together a well-organized, interesting and elite-level string of events and although the festival was filled with high profile and international input; it still remained very personal and offered a great opportunity to network and to gain real insight into the contemporary world of video dance.Due to work commitment (I was filming TRENCH with Anthony Missen and Kevin Turner) I had to miss the first two days of the festival but joined in on Thursday and that’s where this blog starts:Thursday, 24th April 200810am – 11:25am Brigitta Hosea at RNCMForum 6Brigitta Hosea spoke about sound drawings and performance drawings and demonstrated various ways to great stunning imagery purely with her voice. She also mentioned how she uses PWM, light sensors and motors in her work and her interest in motion sensitive toys like the ones that can be found in an Argos catalogue. For example, there is a Barbie head that is able to learn a song and sing it with its lips in sync. From here on the discussion was opened up and the “Modified Toy Orchestra” by Brian Duffy from Birmingham was brought up as well as French emotional toys. More physically active gadgets like a Wii or GPS can get literally our bodies involved in an interactive way, e.g. in a project based in London a drawing was created matching the tracks tagged mobilephone carries have taken. And then we wondered how Maurice Merleau-Ponty would have viewed those new aspects of technology and knowledge of sense-data in his philosophy on perception.USEFUL:www.arduino.ccwww.tinker.itb.hosea@csm.arts.ac.uk11:45am – 1pm Alex Reuben at RNCMForum 7Alex Reuben was once a DJ who moved his passion for dance to filmmaking. His quest to find out why he loves dance and why especially certain styles of music make him dance led him to travel America and documented personal journeys of the roots of dance in “Routes”. It is a sound-led work for cinema that shows an anthropological side of music and dance and was commissioned by Capture/ English Arts Council.Reuben’s own artistic roots lie in Fine Art which is still reflected in his video work like Que Pasa bringing together painting, sound and ethnic dance. He says that as a DJ, he was able to ‘sculpt’ a room with his music and that he sees similar physical responses created by American artists like Jackson Pollock.2:30pm – 4pm Donald Glowinsky at RNCMForum 8, Keynote speakerDonald Glowinsky is based at the InfoMus Lab at Casa Paganini at University of Genova, Italy. His research focuses on activity analysis of music and dance performance to develop novel techniques and computational models for understanding non-verbal communication. The interactive software Eyesweb derives from the concept of animacy: kinematics (speed), form (shape) and dynamics (force) to give information of intention. 12 dots are sufficient enough for the human eye to recognize a human being in motion and its emotion, possibly even with as little as 3 dots (GEMEP Corpus).USEFULwww.nime.org (festival in June)Mr Gurk effect 1970www.infomus.orgwww.casapaganini.orgwww.eyesweb.org4pm – 5pm Conference Wrap Up6pm – 9pm Dance for Camera Night at Sandbar with South East DanceMy friend Christopher Perkins, a photographer and filmmaker based in Manchester wrote a blog about this particular Thursday night’s eventhttp://snapztalks.blogspot.comFriday 25th April 200810am – 4pm Eyesweb Masterclass with Donald Glowinsky at MMU CheshireThis workshop gave a hands-on experience with the Eyesweb software which has a straightforward layout resembling a mix of an email inbox and Apple Motion. The icons are kept simple: a camera represents the camera input, a TV is the connection to a monitor; this makes it very easy to achieve interactive results with little start-up help.Eyesweb is a free software and is currently utilized by about 10,000 users6:30pm – 8pm Visions d’aillieurs, screening at RNCMThis screening brought together an international selection of various video dance genres. The possibly all-over favourite was Pork by Gido Leytens from Netherlands: a guy is watching TV when a woman on the screen starts speaking, this causes him to have a fit and flashbacks of being treated like a dog explode in. This might not sound too exciting, yet, the way it was shoot, directed, edited and acted worked really well. Personally, I enjoyed Tango Finlandia by Hannu Lajunen because it used animation in an original way and the story of two guys trying to dance/wrestle was very amusing. In Andy Wood’s Three is a Crowd the audience can sense how Wood actually dances with his camera in this uncut version with the improvising, tango-dancing couple. Analog Brother by German Falk Peplinski applies stop-motion animation technique to the dancers/actors with a fantastic overall bluish grade. It throws you back to the 80’s and I couldn’t help thinking of Petshop Boys and Kraftwerk.8:15pm – 9:45pm Alex Reuben’s Now that’s what I call Modern Disco Dancing Classics Vol 1 at RNCMReuben ingeniously mixed together video works he created between 1999 and 2007; a natural flow run throw the varying imagery and proves his djing skills can also be applied to editing and vjing. It blended together hand-held documentary shoots with scripted studio shoots to motion capture animations. The Q & A afterwards offered the opportunity to get some background information about the works.Saturday 26th April 200811am – 1pm Industry Brunch at SandbarApologies if any names are misspelled!Tamsin Durie from LANWest (Live Art North West) brought to attention the various opportunities that are around in the area of Manchester:- Emgerency is an Open Performance platform happening in September/October- 3 yr funding scheme with In-Transit- LANWest collaborates together with the GreenRoom in Manchester but also with Leeds, Klucol, Carlisle, University of Lancashire, Neville in Lancaster to create a network for producing work and promotion- Panda-Arts focuses on support for stage, street theatre, live art, film, networking and business development. They offer mentoring and show-starter seminars for graduates and students.Werner Moebius and Mariella Greil are part of the Sound Networks which affiliates with the Open Source City, an autonomous village and is shaped by its members. On 3rd and 4th May 2008 a Contact Theatre is taking place.Lesley Ann Rose runs the Northern Film Maker Network which have been established since 2000; it is a dynamic creative non-profit agency helping uprising filmmakers to find funding and crews. The Northern Film Maker newsletter offers members to add in their own call-outs. The programme of events spans from opportunities with Channel 4 and Dazzle Films to networking events…and works together with the Cornerhouse (Manchester) and FACT.USEFULwww.panda-arts.org.ukwww.lanwest.orgwww.soundnetwork.org.ukinfo@northernfilmnetwork.comBrigitta Hosea contributed to the discussion on Funding & Comprising the fact that in Spain digital artists are not given any support and therefore set up Technearte in Asturias and Bilbao. This organization offers residencies for digital artists in professional companies that e.g. specialize in alarms and mobile phones and welcome the artists’ innovative creative approach.4pm – 5:30pm Outside the Box, Screening at RNCMOutside the Box screened my video A_WAY_AWAY which is a mix of live action and animation and can be view on my website www.creationeditor.co.uk. Pan Y Cebollas by Ramona Poenaru plays with the notion living on your object of desire alone; in a raw animalistic way two beautiful women “eat” a naked man laid out on a wooden table. The most inventive film was Kitchen by Francois Vogel from France; a special lens was created to for this video to give the illusion of a spinning room viewed through a fish-eye.6pm – 7pm Transcended, Screening at RNCMPhilippa Thomas’ Electric Desert brought together footage filmed form a limo in Las Vegas and shoots of a male dancer recreating Loie Fuller’s butterfly. An enigmatic visual mix intensified by music by 7Hertz. Suspension by Nicolas Provost from Belgium draws the audience into hyper-realistic psychedelic exploding clouds and I imaged it would be wonderful to see them in a looping installation or as an interactive backdrop of a performance.from 8pm Closing Night with Filmmaking Lab Screening at SandbarTo round up the festival, the screening of videos created over the duration of the festival was just the perfect way. Fantastic innovative ideas with hand-puppets, animation and live shoots accompanied by live music by Tony proved that performance can happen anywhere, anytime and anyway. My personal favourite was Mark Pilkington’s video of the ballerina in a black tutu filmed in the back of a driving car.The Closing Night also offered another great opportunity to meet more interesting people from the field of video dance and to have time to talk.To sum up: it simply was a fantastic festival which I thoroughly enjoyed and found very inspiring. It cannot be neglected how warmly we were all welcomed and how comfortable it was to be all in the same hotel around the corner. Many Thanks to Pascale Moyse for bringing us all together for an events-packed festival!NOTE: ALL THE ABOVE MENTIONED INFORMATION CAME FROM MY OWN PERSONAL NOTES AND SORRY BUT I CANNOT GUARANTEE THAT THEY ARE 100% CORRECT!
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