video (70)

The Kitchen presents Ralph Lemon’s Meditation: A One-Day Film Event
Sunday, October 17
The concluding event of Lemon’s How Can You Stay in the House All Day,
Premiering in Brooklyn Academy of Music’s (BAM) Next Wave Festival
New York, NY, September 29, 2010—On Sunday, October 17, The Kitchen presents Meditation, a film
installation conceived and created by Jim Findlay and Ralph Lemon. The one-day event is the closing
chapter of Lemon’s live multi-media project, How Can You Stay in the House All Day and Not Go
Anywhere, which has its New York premiere in this year’s Brooklyn Academy of Music’s (BAM) Next
Wave Festival. The installation will be on view from 12:00 P.M. to 5:00 P.M. at The Kitchen (512 West
19th Street). Admission is free.
The first three portions of How Can You Stay—which includes live performance, dance and visual art— are
presented on the proscenium stag of BAM’s Harvey Theater, while Meditation is a film installation where
audience members can come and go as they please. Only being seen at The Kitchen, the installation
reiterates the themes from How Can You Stay… through projection, light and shadow, creating an
immersive environment. The film invites viewers to absorb the rhythms of an imagined underlying
narrative or simply follow their own free form associations. Throughout the entirety of How Can You
Stay…, Lemon employs these multiple and intertwined media to approach themes of human connection,
loss, and the elusive but ever-compelling possibility of grace.
How Can You Stay in the House All Day and Not Go Anywhere is co-produced by Cross Performance Inc.
and MAPP International Productions. It was co-commissioned by BAM for the 2010 Next Wave Festival,
Krannert Center for the Performing Arts at University of Illinois in Urbana-Champaign, On The Boards
and Walker Art Center.
Ralph Lemon (Concept and Direction) is Artistic Director of Cross Performance, a company dedicated to
the creation of cross-cultural and cross-disciplinary performance and presentation. Lemon builds teams of
collaborating artists - from diverse cultural backgrounds, countries and artistic disciplines - who bring their
own history and aesthetic voices to the work. Projects develop over a period of years, with public sharings
of work-in-progress, culminating in artworks derived from the artistic, cultural, historic and emotional
material uncovered in this rigorous creative research process.
In 2005, Lemon concluded The Geography Trilogy, a decade-long international research and performance
project exploring the "conceptual materials" of race, history, memory and the creative practice. The project
featured three dance/theater performances: Geography (1997); Tree (2000); and Come home Charley
Patton (2004); two Internet art projects; several gallery exhibitions; the publication of two books by
Wesleyan University Press, and a third to be published in 2011. Other recent projects include the three-
DVD set of The Geography Trilogy; a web-installation (; a 2009 multimedia
performance commission for the Lyon Opera Ballet, Rescuing the Princess; and Lemon’s current
multimedia project How Can You Stay In The House All Day And Not Go Anywhere?
Lemon was one of fifty artists to receive the inaugural United States Artists Fellowship in 2006. He has
received two "Bessie" (NY Dance and Performance) Awards, a 2004 New York Foundation for the Arts
Prize for Choreography, a Guggenheim Fellowship and a 2004 Fellowship with the Bellagio Study and
Conference Center. In 1999, Lemon was honored with the CalArts Alpert Award in the Arts. Lemon has
been artist-in-residence at Temple University in Philadelphia (2005-06); George A. Miller Endowment
Visiting Artist at the Krannert Center (2004); and a Fellow of the Humanities Council and Program in
Theater and Dance at Princeton University (2002). From 1996-2000, he was Associate Artist at Yale
Repertory Theatre. Most recently he was an IDA fellow at Stanford University.
Lemon’s solo visual art exhibitions include: How Can You Stay In The House All Day And Not Go
Anywhere?, Yerba Buena Center for the Arts, San Francisco, CA (2010); (the efflorescence of) Walter,
Contemporary Art Center, New Orleans (2008), The Kitchen, New York (2007) and the Walker Art Center,
Minneapolis (2006); The Geography Trilogy, Zilkha Gallery at Wesleyan University, Middletown, CT
(2001); Temples, Margaret Bodell Gallery, New York (2000); and Geography, Art Awareness, Lexington,
New York (1997). Group exhibitions include: Move: Choreographing You, Hayward Gallery, London, UK
(2010-11) and The Record: Contemporary Art and Vinyl, Nasher Museum at Duke University, Durham,
NC. In January 2011, Lemon will perform at the Museum of Modern Art in New York City in conjunction
with the exhibition, On Line: Drawing Through the Twentieth Century.
Jim Findlay (Video Designer) is a designer, director, performer and creator with a constellation of theater,
performance and music groups. He was a founding member and primary collaborator in both the
groundbreaking performance group Collapsable Giraffe, and the internationally successful music/media
performance company Accinoso/Cynthia Hopkins, as well as being an associate artist of the Wooster
Group since 1994 and a frequent collaborator with Ridge Theater, Bang on a Can and Ralph Lemon.
Other recent work includes video design for R. Buckminster Fuller: The History (and Mystery) of the
Universe at Arena Stage; Rescuing the Princess by Ralph Lemon (Lyon Opera Ballet); and projection
design for DJ Spooky’s Terra Nova: Sinfonia Antarctica. Current projects include Persephone by Ridge
Theater; Stew's Brooklyn Omnibus at BAM; and a commission for the creation of a non-text based work
with director Phil Soltanoff for the Center Theater Group in Los Angeles.
Findlay is also developing, writing and directing a new performance project titled Botanica , to premiere in
2011. Awards include the Henry Hewes Design Award, Lucille Lortel Award, Princess Grace Award, Obie
Awards in 2001 and 2008, and Bessie Awards in 1999 and 2008.

Read more…

APODIO is a GNU/Linux platform containing audio, text-friendly, 3D, Streaming, graphic, Live Coding and video tools. It can be used as a liveDVD or be installed on a partition of your hard disk (on any PC 32bits to Mac Intel).

APODIO is a GNU/GPL project, a part of the GNU/Linux Ubuntu family:

APODIO uses a well known system operating the GNOME desktop.

APODIO can easily and quickly be installed, as a whole, coherent, pre-set and instantly ready system on your computer, rather than a ramshackle combination of packages, And what you see as you use the LiveDVD is also what you get after the installation.


apodio1.jpegsource :

Read more…


¿cómo cuenta un cuerpo?
¿de qué hablamos cuándo hablamos de composición física?
¿que premisas/ paradigmas/problemas/ preguntas están en juego en el Arte contemporáneo hoy día?
¿cómo y desde dónde dialoga la danza con ellas?
¿porqué la danza teatro NO es la suma de danza + teatro en el sentido literal de cada una de esas palabras?

Destinado a estudiantes de danza, teatro, músicos, cantantes y artistas de cualquier disciplina interesados en iniciarse en el lenguaje compositivo de la danza teatro o con deseos de profundizar en él.

Algunos objetivos:

Entrenar desde un cuerpo consciente, perceptivo y despierto elementos técnicos y compositivos propios de la danza teatro como género a saber:

la danza como acción física,

el cuerpo en estado de danza,

la danza con lo que ya hay:

cuerpo, espacio, tiempo, arquitectura,

la sensorialidad y la escucha como fundamentos del trabajo,

improvisación y composición,

dramaturgismo en danza.

3 fechas 1. del 13 al 17 de Diciembre del 19 30 a 21 30

2. del 3 al 7 de Enero de 19 30 a 21 30

3. del 14 al 18 de Febrero de 19 30 a 21 30

Aranceles seminarios en Buenos Aires:

$ 190.- cada seminario (dos seminarios $ 360.-)

Danzar el Hábitat, cuerpo espacio y soporte.

Seminario en Córdoba, Senderos del Monasterio, Valle de Punilla

info completa y detallada en

Vacantes limitadas solo se reserva con seña previa por el 50% del arancel. Podés solicitar el Nº de cuenta por mail o acercarte personalmente a Casa Puán previo concertar una entrevista

al teléfono 011 15 4189 2930

Para ver trabajos previos nuestros podés mirar este mismo blog y también:

Te sugiero leer este artículo:

Read more…

Bailar el verano/ Seminarios en Buenos Aires y Córdoba


 ¿cómo cuenta un cuerpo? 
¿de qué hablamos cuándo hablamos de composición física?
¿que premisas/ paradigmas/problemas/ preguntas están en  juego en el Arte contemporáneo hoy día?
¿cómo y desde dónde dialoga la danza con ellas?
¿porqué la danza teatro NO es la suma de danza + teatro en el sentido literal de cada una de esas palabras?

Destinado a estudiantes de danza, teatro, músicos, cantantes y artistas de cualquier disciplinainteresados en iniciarse en el lenguaje compositivo de la danza teatro ocon deseos de profundizar en él.

Algunos objetivos:
Entrenar desde un cuerpo consciente, perceptivo y despierto elementos técnicos ycompositivos propios de la danza teatro como género a saber:

la danza como acción física,

el cuerpo en estado de danza,

la danza con lo que ya hay:

cuerpo, espacio, tiempo, arquitectura,

la sensorialidad y la escucha como fundamentos del trabajo,

improvisación y composición,

dramaturgismo en danza.

Seminario 1. del 3 al 7 de Enero de 19 30 a 21 30

Seminario 2 . del 14 al 18 de Febrero de 19 30 a 21 30 


$ 190.- cada seminario (dos seminarios $ 360.-)

Danzar el Hábitat, cuerpo espacio y soporte.

Seminario en Córdoba, Senderos del Monasterio, Valle de Punilla

info completa y detallada en

Vacantes limitadas solo se reserva con seña previa por el 50% del arancel. Podés solicitar elNº de cuenta por mail o acercarte personalmente a Casa Puán previoconcertar una entrevista

al teléfono 011 15 4189 2930

Para ver trabajos previos nuestros podés mirar este mismo blog y también:

Te sugiero leer este artículo:
Read more…

desde Enero


Técnicas Corporales Integradas:

 eje postural, apoyos y columna vertebral


"las raíces del asunto"



Abierto a todo público, principiantes bienvenidos.


Desde un trabajo de reconocimiento corporal profundo, integrando elementos de  Anatomía Funcional, Eutonía, Esferodinamia y Sensopercepción, se propone un recorrido dinámico en las premisas del
Movimiento evolutivo, la postura y la bipedestación.



Las clases son en grupos muy reducidos o bien individuales


 En  Casa Puán/ Parque Chacabuco



Aranceles clases grupales:


1 vez x semana  $100.- x mes


2 veces x semana $140.- x mes





Martes y Jueves


de 10 45 a 12 hs


 o de


de 18 15 a 19 30 hs


 Individuales en horarios a convenir.


Más info en


Por e-mail: 



Por teléfono al 011  15 4189 2930


Muchas gracias por
difundir esta información.
Read more…

Seminario teórico práctico cuatrimestral:


Filosofía-danza y sus mutuos contaminantes

“ Un pensamiento que fuese hasta el final de lo que puede la vida, un pensamiento que llevase la vida hasta el final de lo que puede. En lugar de un conocimiento que se opone a
la vida, establecer un pensamiento que afirmaría
la vida. La vida sería la fuerza activa del pensamiento, pero el
pensamiento el poder afirmativo de la vida (….) Pensar significaría: descubrir, inventar nuevas posibilidades de

GILLES DELEUZE – Nietzsche y la filosofía (1962)

Esta propuesta nace como parte del proyecto de investigación “El cuerpo del Performer”, que lleva adelante la compañía independiente de video danza teatro Vacía de Espacio y que cuenta con el financiamiento del FNA.

Se plantea un recorrido teórico y físico en la obra de Gilles Deleuze buscando articular conceptos como cuerpo, arte, performance, acontecimiento, que emergen con claridad de la
lectura rigurosa y en clave rizomática de su obra. Se abordarán textos teóricos así como
lecturas que Deleuze hiciera de otros filósofos (Spinoza, Nietzsche, Bergson)
buscando la construcción de interrelaciones tanto teóricas como prácticas que
nos permitan pensar desde las fisuras que abre el pensamiento deleuziano en la
filosofía occidental.

Asímismo, aspiramos a poner en discusión y cuestionamiento conceptos que hacen a nuestra experiencia artística, política y ética en el mundo contemporáneo. Por esto mismo, se
abrirá el espacio a la investigación, improvisación y composición física
concreta construyendo planos posibles de esta obra filosófica, no solo desde
una perspectiva reflexiva sino también afectiva. El cuerpo como un concepto de
intensidades variables y el concepto como un cuerpo afectivo en devenir

Reunión informativa inaugural: Jueves 2 de Septiembre 19 30 hs en Casa Puán SOLO CON INSCRIPCIÓN PREVIA. Vacantes limitadas


Doce clases desde el 9 de Septiembre al 26 de Noviembre de 2010.

Primeros y terceros jueves Lectura de textos y reflexión Jueves de 19 30 a 21 hs. (1 hora y media)

Segundos y cuartos jueves: Lectura de textos + Impro física y composición Jueves de 19 30 a 22hs. (2 horas y media)

Total: 8 horas mensuales

Arancel : $150 mensuales



Deleuze en la secuencia filosófica occidental. Continuidades y rupturas. El filósofo artista como fuga de la razón cartesiana. Discurso lógico y discurso paradójico. Escritura
in-tensa más allá del estilo. Pensar sin falo y agenciamiento múltiple en la
escritura. El uno y lo múltiple. Continuidad y variación. Deleuze-Spinoza,
Deleuze-Nietzsche: amistades electivas. Composición y plano de inmanencia.
Diferencia entre ética y moral.
Paralelismo como ruptura del dualismo cartesiano. Afecto, Afección, encuentro. Líneas de fuga y líneas de territorialización.
Spinoza, Deleuze, nosotros. Deleuze-Nietzsche. Concepto de voluntad de poder.
Fuerza activa y fuerza reactiva. ¿Moral del resentimiento o ética de las afecciones? Una filosofía de la fuerza y el valor. La
afirmación como salida dialéctica y de lo
negativo. Hegel: el gran adversario. Lo trágico. Eterno retorno como
vuelta de lo diferente. Jovialidad Nietzscheana Vs alegría burguesa. Pensamiento
afectado y cuerpo eufórico. La danza como horizonte del pensar. Recapitulación.


Lic. Franco Castignani, Prof. Carolina De Luca.


Franco Castignani es Licenciado en Ciencias Políticas (UCA) y actualmente cursa la carrera de filosofía en la UBA. Ha realizado seminarios
particulares de Filosofía con Danial Breuer, Nora Trosman, Leandro Pinkler,
Edgardo Albizu, Dina V. Picotti C., Esteban Ierardo, Ricardo Ibarlucía, Lucas
Soares. Estudió actuación Lorena Hourquebie, Cristian Drut y Leandro Airaldo,
Adrian Canale y Lorenzo Quinteros. Expresion Corporal con Chantal Pirra.
Danza Contemporánea, danza teatro y
composición con: Alina Folini, Carolina De Luca, Virginia Vargas y Mabel Dai
Chi Chan. Contact Improvisación con Vanina Goldstein.

Como Asistente de Dirección participó en “Bajo el Agua”, obra compuesta para el ciclo Proyecto 3 con Dirección de Chantal Pirra(2008) , y en “Lida y Misius”, estrenada en 2009 en el Teatro Payró bajo
dirección de Leandro Airaldo. Actualmente concurre al Taller de Historia de
la Poesía y Proceso de Escritura de Javier Galarza.

Carolina De Luca es directora de danza y actriz. Dirige “Vacía de Espacio” compañía independiente de video danza teatro. Su primera obra No se te ocurra quererme contó con el
apoyo del FNA y del INT. Fue invitada a participar del al XII Encuentro Internacional de Danza en paisajes urbanos: “Habana
Vieja ciudad en Movimiento”, La Habana Cuba (Abril 2007) y al “ European Womens
Theatre Festival” en Finlandia (Junio 2007).

Participó, becada por la compañía teatral Atalaya TNT y el Odin Teatret de la XIII ISTA (International School of Teatre Anthropology) 2005 en Sevilla. Esta participación fue Auspiciada por Asuntos Culturales de la
Cancillería Argentina.

Su formación incluye danza, teatro, dramaturgia, artes plásticas y video. Actualmente estudia composición Instantánea con Fabiana
Capriotti y composición con Andrea Servera. Cursó materias de Historia y
Antropología en la UBA.
Read more…
Original post for Mac USER ...
Sorry for Windows Users ...
I Suggest you buy a ROPE ... :))))

Let's go :
* = R0X1NG Tools : mean save our life during the processing.

* SKITCH : SCREENSHOOT and annoting







Read more…
DUESEPTEMBER 20, 2010-- OSU Dance is HIRING a VIDEO person for our newestassistant faculty position. We seek a dance professional who isactively engaged in a combination of creative activity and theoreticalinquiry with an emphasis on video/film and dance (including but notlimited to dance documentaries, dance for camera, archiving etc.)

See the link on our homepage:
Read more…
Our movement-interactive video projection installation Canvas will be set up in the Queen Elizabeth Hall Foyer at Southbank Centre, London, during Shadoworks, a concert by the London Sinfonietta curated by the London Sinfonietta Collective, on Thursday 03 June at 7:30 p.m. The concert consists of works by Hans Abrahamsen, Aldo Clementi, Dai Fujikura, Larry Goves, and György Ligeti. The context for the concert additionally includes an electronic music piece by Alex Cook and Daniel Harle using the software Music Mouse on an old Atari 1040ST, a dance animation film by Katie Keeble and Ni Wen, synesthetic sound-interactive video by Sion Fletcher, post-concert musical miniatures by Howard Skempton, and our own dance-installation Just Hanging Around. This promises to be a fascinating multimedia art and technology evening!

Read more…

DANCERS! online

The project DANCERS! is officially online at www.dancersproject.comvisit the site and browse among 130 2-minute solos of professional dancers all filmed in full HDWe have filmed in Brussels and Paris and are looking to come to other cities throughout the world during this five-year project. Register online for future shootings and as a potential dancer-partner-organizer-sponsor-installation presenter!Bud
Read more…
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 Sunday 13 December 2009.Experience, create, debate and tour your work celebrating with us 6 years of moves!
Read more…
Before the upcoming ke∂ja Oslo - Dance and New Media conference I have started the ke∂ja Oslo dance video challenge on You Tube where you can post your own dance video, and challenge your colleagues and friends to do the same. Remember to credit the people that are taking part, we want to know who they are! Ask them before you post the video. ke∂ja Oslo - You tube challenge is mostly for fun, but its also a way of exploring different sites for user generated content. We already have 19 members who have uploaded videos, and started to rate each other, but we hope for more of everything: posts, comments, ratings.
Read more…

Call for Videographers/Filmmakers

TenduTV is seeking to update its potential referral list for dance organizations seeking video and film work, and is seeking companies experienced in high-end video production worldwide.We are only seeking companies who can deliver HD product to broadcast specification (for example, PBS or BBC spec).Please submit your contact information, as well as links to your website, reels/samples and general rate cards to
Read more…
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:
Read more…
Hello all dance-tech colleagues!I am pleased to share with you the news on the most recent recipients of EMPAC's commissioning program for dance on screen works.This is the third group of works in our DANCE MOViES Commission - the first four works are currently touring, the next four works will premier in November 2009, and now these new FIVE works are slated for premiers in the fall of 2010!Congratulations to the artists!Best,Helene--Hélène Lesterlin (Curator, Dance, EMPAC)inquiries: 518.276.3918 / (do not publish)THE EXPERIMENTAL MEDIA AND PERFORMING ARTS CENTER ANNOUNCES WINNERS OF THE DANCE MOViES COMMISSIONS 2009-2010Troy, NY—In one work, three street kids in the streets of Rio seem to juggle air; in another, a dancer and an incandescent hoop rotate in a black void; and in another, multiple video screens installed side by side layer film samples and a dancer’s gestures to create counterpoints of movement and image.EMPAC – the Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute - announces the 5 recipients of the EMPAC DANCE MOViES Commission 2009-2010. Chosen out of 69 project proposals by an international panel of dance-film practitioners, curators and producers, the projects range in format, style and emotional tone: from three-channel video installation to studio-based video shoots to urban interventions.The projects will receive awards ranging from $10,000 to $23,000 and will premiere in the fall of 2010 at EMPAC.The DANCE MOViES Commission is a program launched by EMPAC to support the creation of new works in which dance meets the technologies of the moving image. As the first major commissioning program for dance film established in the US in 2007, it is having a significant national and international impact, making the creation of new works possible. The first four DANCE MOViES Commissions were premiered at EMPAC’s opening celebration in October 2008 and are currently touring to international festivals. The next four projects are in production and will premiere this coming November.EMPAC DANCE MOViES Commission 2009-2010 Recipients(in alphabetical order of titles, with a brief description of the projects and panelists’ comments)Anatomy of Melancholy, Mexico, 10 minutesDirector: Nuria FragosoTwo contrasting spaces – one light and open, the other constrained and dark – form the built environment for dancers moving against expectation. Visual metaphors about spaces and intentions.“A collaborative group of young Mexican artists presents a very clear and concrete proposal, with an extremely strong aesthetic sense centered upon the body in space.”HOOP, Canada, 4 minutesDirector: Marites Carino, Choreographer/Performer: Rebecca Halls, Composer: Anthony Tan, D.O.P.: Donald RobitailleA woman floats in a black void, swinging through shafts of light, keeping in perpetual motion an incandescent and familiar circular childhood toy.“A compact, visually dynamic, playful, movement portrait, chosen for the clarity of its intent and the crispness of its imagery.”(This project was also awarded the BravoFACT! commission in Canada)MO-SO, USA, 12 minutes - looping video installationDirector: Kasumi, Composer: Fang Man, Dancer: Chan U HongA three-channel video installation for film samples and dancer. Fragmentary and symbolically charged images serve as a basis for improvisation by the dancer. The footage of the dancer is then fed back into the polyphonic narrative, musical and choreographic structure.“This three-channel video expands the definition of a dance screen project. The panel appreciated the way it captures a sense of the movement chaos that surrounds us in contemporary culture.”Q, USA, 12 minutesDirector/Choreographer: Rajendra SerberIn this exploration of urban isolation, three men trace their solitary paths through empty streets at night. When the strangers try to pass each other by, they become locked in anonymous antagonism.“A movement-based study, Q grows from improvisation and choreography in real time, drawing on the choreography of editing.”The closer one gets, the less one sees, Brazil, 12 minutesVideomaker: Valeria Valenzuela, Choreographer: Lilyen Vass, Production: Aura FilmsIntervention in the everyday lives of three jugglers/beggars, who get together at the traffic lights on a street crossing in the city of Rio de Janeiro, transforms the objective action of their juggling into the abstract vocabulary of contemporary dance.“Working with young street jugglers in Rio and transforming their utilitarian movement into contemporary dance, this team provides a transparent proposal, a track record with documentary style filmmaking, and an intriguing concept.”The selection panel comprised Magne Antonsen (Norway), Kelly Hargraves (USA), Nayse Lopez (Brazil), Elizabeth Zimmer (USA), and Hélène Lesterlin, Curator for Dance at EMPAC. Bios of the panelist available at Commission is supported by EMPAC’s Jaffe Fund for Experimental Media and the Performing Arts. It is open to artists based in North and South America who are making video, film and installation work.Statistics for DMC 2009-2010Selected from 69 applications, of which 28 were short-listed, the 5 funded projects represent the third round of awards given out through the EMPAC DANCE MOViES Commission. In this year’s pool, 51 of initial proposals came from the US, 7 from Canada, 4 from Argentina, 3 from Brazil, and 2 from Mexico.For more information on DANCE MOViES Commission, as well as the list of shortlisted projects visit:
Read more…
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:
Read more…


DANSCAMDANSE 2009III International Dance Film Festival25-26-27 november 2009 - Art Cinema OFFoff - Ghent - Belgium.DANSCAMDANSE is an international film festival focusing on the interaction between dance and visual media: the different ways dance is a formal subject of film, or a source of inspiration. The festival aims to be the voice of a continuously growing number of choreographers and visual artists—a focused opportunity for exposing new dancefilms creations and a platform for reflection on these themes.DANSCAMDANSE festival deals with the special relationship between dance and the moving image, between the physical aspect of dance and the pure quality of projected light. This relationship can flourish from both directions—in one way as a presentation of mainly choreographic works recorded/produced for the camera or, on the other hand, as an interpretation of dance, translated into a film.The festival is a chance to join cross borders between dance and film, creating a stage for different ideas and visions to reach one another.This 3th edition focuses on uncompromising, unconformistic Experimental Dancefilmsin a broad perspective (only single screenformat).DANSCAMDANSE is interested in new, original and personal ideas that can arouse interest and exchange. The festival is not a competition but, instead, a meeting for promotion, inspiration and new discoveries.DANSCAMDANSE is an initiative of the MahaWorks Organisation in collaboration with Art Cinema OFFoff and Flanders International Film Festival-Ghent-Belgium.MahaWorksDANSCAMDANSEZandberg 19000 GhentBelgiummore infowebsite: www.danscamdanse.beemail: info@danscamdanse.betel: +32 (0) 9 330.03.72!Deadline September 25th!Please forward the news!
Read more…

Blog Topics by Tags

Monthly Archives