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Are you a choreographer based in Europe?


Aerowaves is a hub for dance discovery in Europe. Each year the Aerowaves network selects 20 of the most promising emerging choreographers, promotes their work, and creates performance opportunities with Aerowaves' Partners.

Apply to Aerowaves and get a chance to have your work programmed by the partners of the network, whether or not you are selected as Aerowaves artists. Around 100 performance opportunities are guaranteed by the partners and supported by Aerowaves each year.

Applications are now open and will close at midnight on 12 September 2017.

Should you be selected as one of the Aerowaves Twenty, your work will be promoted by Aerowaves via its website for one year by an artist profile, with images, video and calendar all in one place.

You may be selected to perform your work at our Spring Forward Festival. We guarantee to programme at least 15 of the current Aerowaves Twenty artists in the festival each year.

For more details and to apply click here

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STEIM Concept Stage


Autonomous art space meets science lab meets open mic night. Tuesday 13 Dec STEIM will be hosting an open evening for local artists working on the fringes of their disciplines to come perform their latest works and works in progress in front of a live audience in Amsterdam. Artists of all disciplines (music, theater, audiovisual, sound art, etc..) are invited to sign up!

Entry is free, though we ask you give a small donation to help pay for the costs of maintaining the space. Drinks and snacks will also be available at the bar.

If you'd like to perform, please send an email to openstage [at] steim [dot] nl with "Concept Stage: YOUR NAME" in the subject line no later than December 12 (the day before the event). In your email include a short description of what you'll be doing, your technical requirements, and a time preference for when you would like to play. By default we will have a projector (VGA) and PA system with multi-channel mixer set up in STEIM Studio 3, our 8m x 11m black-box theater space.


We will schedule performers on a first-come-first-serve basis as time allows.
Performances are limited to 15 minutes maximum. 

Date: Tuesday 13 December, 2011
Time: 20:00 (doors open), 20:30 (open podium and concert)
Cost: By donation
Location: STEIM Studio 3, Utrechtsedwarsstraat 134, Amsterdam

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open call for videodance works

Hello all,

For a screening program that will take place at the Intersection project of the Prague Quadrennial, we are looking for video dance works which deal profoundly with one or more of the following subjects: location, duration, mood.


Please note that the deadline is very near!


For registration please send a filled form via e-mail by February 8



A DVD (PAL) together with a printed and signed form should be sent to:

Lior Avizoor, 5 Shmaaia street, TLV-Jaffa, 68024, Israel - by February 15

For further information don’t hesitate to contact me.

All the best,


Lior Avizoor

curator and choreographer


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European Musicday Anniversary Party in Athens

Call for video entriesEUROPEAN MUSICDAY ANNIVERSARY invites international video-artists to show their work in a celebrating venue that will take place on the 21 of December in Athens, Greece. The video works category includes short videos, music videos, animation, dance videos and video art, that have been completed / released after 1-1-2005.Closing day for submissions is 17th December 2008Requirements for EntrySubmissions must be postmarked by the deadline in order to be considered.Indicate: “With no value/ for cultural purposes only” in your submitted DVD.Submitted materials will not be returned.Submission Material / Screening RequirementsEstimated video length up to 10minutesFormat: DV AVI format (broadcast high quality 720X576)Short biography of the author in word .doc format (100words max)Email address required by all applicantsAll credits/rights should be included at the end of the videoDeliver Submission Pack To:EUROPEAN MUSICDAYPO BOX
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Ars Electronica announced the festival for next september with a very interesting and provocative formulation: A New Cultural Economy: The Limits of Intellectual Property. The age of copyright and intellectual property has reached its expiration date. A development that already manifested itself in the technical fundamentals of the Internet has reared its head in the actual practices of a young generation of users and is bringing forth a new economy of sharing and open access. With this provocative formulation, Ars Electronica is placing one of the core issues of modern knowledge-based society at the focal point of this year's festival program. What’s at stake: the value of intellectual property, freedom of information and copyright protection, big profit-making opportunities and the vision of an open knowledge-based society that seeks to build its new economy on the basis of creativity and innovation. The crux of the matter is that we still lack practical, workable rules and regulations governing this new reality and—of no small importance—that the task of coming up with them ought not to be left up to lawyers and MBAs alone. After all, regardless of the perspective from which one approaches this issue—that of the Internet pirates, the inventors of a new information commons, the pioneers of a sharing economy or the apologists of the creative industries—one thing remains true: if knowledge and content actually are to be the new capital of postindustrial society, then they have to circulate and be accessible by all.
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Radiohead just released a new video for its song "House of Cards" from the album "In Rainbows". No cameras or lights were used. Instead two technologies were used to capture 3D images: Geometric Informatics and Velodyne LIDAR. Geometric Informatics scanning systems produce structured light to capture 3D images at close proximity, while a Velodyne Lidar system that uses multiple lasers is used to capture large environments such as landscapes. In this video, 64 lasers rotating and shooting in a 360 degree radius 900 times per minute produced all the exterior scenes. Watch the making-of video to learn about how the video was made and the various technologies that were used to capture and render 3D data. See details in Google Code:
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Tuesday, Feb. 26 at 6:30 PM

Hello network, in my opinion this is an extremely important news due to its implications on traditional notions of documentation, authorship and copyright for choreography and new media. I think it is also an important opportunity for projects and work with this material. Please read an comment.! what do you think? I created a group for dance-tech (artist, technologies, theorists...etc) interested in relalizing a sharing project using the LOOPS as source material. Group: Loops/Open Source Projects Merce Cunningham CompanyThe OpenEnded Group New York, NY—Merce Cunningham Dance Company and The OpenEnded Group present the public release of Merce Cunningham’s choreography for his signature solo dance Loops, and the accompanying digital artwork created by The OpenEnded Group, on Tuesday, February 26 at 6:30 PM in the Merce Cunningham Studio. This event is co-hosted by the New York Public Library for the Performing Arts at Lincoln Center. The evening will include a presentation of the choreography and of the digital artwork, remarks from Merce Cunningham as well as Paul Kaiser and Marc Downie of The OpenEnded Group, and a reception. The choreography for Loops will be made available under a “copyleft” intellectual property license (in the form championed by Creative Commons). This will permit anyone to perform, reproduce, and adapt this work for non-commercial purposes. Simultaneously, the digital artists of The OpenEnded Group (Marc Downie, Shelley Eshkar, and Paul Kaiser) will release their digital portrait of Cunningham, also entitled Loops, as open source software. This artwork derives from a high resolution 3D recording of Cunningham performing the solo with his hands. The artists will also unveil a completely new realization of the work, now in color. The open source release will give digital artists and scholars the freedom to study the artwork in detail and to adapt or remix the artwork creatively. The release will also constitute a kind of “living will” for the artwork so that it can be recreated long after current technology has been superseded. This open source release goes beyond Loops itself, for it includes the complete multimedia authoring system, Field, that underpins Loops as well as other of the most technically challenging artworks made to date, spanning realtime graphics, interactive performance, and digital music. The open source release of Loops is made possible through support from the Cunningham Dance Foundation with major support provided by The Andrew W. Mellon Foundation. All the original materials for Loops will become part of the Merce Cunningham Archive at The New York Public Library for the Performing Arts Dorothy and Lewis B. Cullman Center. The Merce Cunningham Archive was created unofficially by David Vaughan when he was hired by Merce Cunningham as studio administrator in December 1959. In 1976, his job as archivist was formalized by a National Endowment for the Arts grant for a two-year pilot project. At the end of that period, the Cunningham Dance Foundation asked him to remain as the first archivist in the history of American dance companies. The Merce Cunningham Archive’s works on paper include a virtually complete set of programs of performances, posters and flyers, Cunningham's personal choreographic notes from the 1930s to the present, books and periodicals of writing by Cunningham and Cage, as well as books and periodicals about Merce Cunningham Dance Company. The electronic media works include Cunningham's personal choreographic notes, dating from 1991, constituting some 50 hours of computer files; original moving camera recordings related to Cunningham's film/video collaborations; master films and videotapes; and recordings of performances and rehearsals, recorded interviews, documentaries, and newscasts featuring Cunningham and his work. There are approximately 1000 still images, approximately 200 hours of audiotapes and phonograph records of music relating to the repertoire; and sound recordings of music and of interviews, lectures and symposia, and oral histories. Merce Cunningham Studio is located at 55 Bethune Street, 11th floor, in Manhattan. ______________________________________________ Loops Cunningham created Loops as a solo dance for himself in 1971 and continued to perform it until 2001. Though he originally danced it with his full body, Cunningham soon started channeling its intricate movements entirely into his fingers, hands, and arms. In this form, Loops became the signature solo work of Cunningham’s later career, often inserted as a cameo into Merce Cunningham Dance Company Events. Cunningham eventually set Loops on an artificial “performer,” a software intelligence embodied in an abstract body coded and created by The OpenEnded artists for a virtual version of the work. This digital version of Loops was commissioned by the MIT Media Lab in 2001 and derives from a definitive recording of Cunningham performing the work in a motion capture studio. This recording preserved the intricate performance as 3D data, which portrayed not Cunningham’s appearance, but rather his motion. Cunningham’s joints become nodes in a network that sets them into fluctuating relationships with one another, at times suggesting the hands underlying them, but more often depicting complex cat’s-cradle variations. These nodes render themselves in a series of related styles, rendered to resemble gesture drawings. The Loops soundtrack has two elements. The first is Cunningham reading carefully compiled diary entries from his first three-day visit to New York City in 1937 at age 17, a marvelous evocation both of the spaces of Manhattan and of the young Cunningham. The second is a musical response to the sound and semantics of the narration as well as to the structural changes occurring on screen. This work draws upon sounds from the prepared piano of long-time Cunningham collaborator John Cage and, like the visual elements, creates itself in real-time. Just as the Loops imagery constructs a set of interacting processes that observe and recast the motion of Cunningham’s hands, the new score takes a set of interacting musical processes that listen to and restate the sound and language of Cunningham’s narration. Like Loops the physical dance, Loops the digital artwork is always "performed" live (computed and rendered in real-time), with no two performances the same. As a live performance it suggests the immortality of a dance that would appear to be fleeting and ephemeral. As a subject for creative reinterpretation, the digital work offers something radically new. Since the internal structure of Loops is revealed completely in its visibly open source, re-implementations of it can go far beyond the present-day practice of “remixes,” which operate only on the surface rather than on the structure of the original work.

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This project addresses cultural memory as endangered by the computer age — an age that perhaps offers a solution. We take as our representative artifacts the two works entitled Loops: (1) Merce Cunningham’s dance solo for his hands and (2) the digital artwork we derived from that dance. Though Loops the dance and Loops the artwork take completely different physical forms (human body, digital computer), they provoke similar challenges to preservation. Both are always performed live, never quite repeating from one performance to the next. Thus, neither work can be preserved properly in any fixed form, such as film or videotape. And the complexity of both works defies capture by such traditional forms as notation and flowchart. Somewhat in parallel with the Variable Media Initiative. In this project we intend not only to preserve and document the dance and the digital artwork, but also to create “living wills” for the choreography and the software that would allow their perpetuation – and propagation – far into the future. Go to the original post
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