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AUTOPSY | EROS

“la petite mort”

Autopsy: (a.) a personal observation

Eros: (n.) the primordial god of sexual love and beauty

 A film by

Jeannette Ginslov

Commissioned by

Danish Dance Theatre

A personal observation of desire, beauty and erotic love. Ginslov captures authentic emotions and movement with the medium of Screendance, an interdisciplinary genre of dance and cinema. Using the somatic system of Alba Emoting that trains the performer to elicit raw authentic emotions, the focus is on emotional and kinaesthetic amplification. The film emphasises a viewer’s empathic and visceral response to the performer and camera dancing together in the sumptuous location of the Sofie Badet in Copenhagen.

CREDITS

Director - Jeannette Ginslov

Editor - Jeannette Ginslov

Producer - Maia Sørensen

DOP -  Vahid Evazzadeh

Hand Held shots - Jeannette Ginslov

Music and Sound -  Jørgen Teller

Choreography - Jeannette Ginslov in collaboration with

dancers from Danish Dance Theatre

Dancers - Maxim-Jo Beck McGosh, Minna Berglund

Stefanos Bizas and Fabio Liberti

Colorist and Grading - Norman Anthony Nisbet

Costumes - Xiri Tara

Assistants on set - Jared Armstrong, Kir Qvortrup & Xiri Tara

Location - Sofie Badet Copenhagen Denmark

Gear Hire - doublExpose Ltd, Twenty Four 7, Europ Car hire

Post Production House - BeoFilms

Post Production Funds -  Dansk Skuespillerforbund

Many thanks to - Tim Rushton, Daniel Roberts, James Tayler

and Lars Vind-Andersen

Video produced by Walking Gusto Productions © 2011

AffeXity

Phase 01 

Narrative Report

Jeannette Ginslov Residency at Laboratorium

Dansens Hus Copenhagen

21-27 November 2011

Phase 01 Residency

AffeXity Phase 01 includes an informal internship for Jeannette Ginslov at MEDEA, Malmo University, end Sept to mid December and a Residency at the Laboratorium from the Dansens Hus Copenhagen 21-27 Nov 2011. Ginslov was invited by Prof Susan Kozel to the informal internship and obtained the residency at the Laboratorium by application. 

Phase 01 culminates on 16 December 2011 with a showing of all seven screendance videos generated at the Laboratorium. It includes a panoramic video of the MEDEA space as well as the Argon Augmented Reality browser on iPads and iPhones for the attending guests. Over four hundred academic as well as industry people are expected to attend the event at the MEDEA K3 Malmö University.

The Project – Affexity

AffeXity, a play on both ‘affect city’ and ‘a-fixity’, is an interdisciplinary collaborative social choreography project drawing together dance, visual imagery, and mobile-networked devices. It uses a free open standards augmented reality web browser called Argon running on the iPhone and iPad for the viewing of choreographies embedded in the city of Malmö, Sweden. Short screendance narratives shot in the city area are then edited, focusing on affect and corporeality, and uploaded on Argon. These are geospatially tagged onto certain locations in Malmö, which the will viewers access using Argon on mobile devices, the iPhone and/or iPad.

See AffeXity Proposal Video: https://www.youtube.com/watch?v=03uTRXtdi3A

For the final launch of the AffeXity project, videos will be shot in and around Malmö for the performance and uploaded onto the Argon Browser for the viewer to download onto their mobile devices – ipads and iphones. The final AffeXity project will be launched Nov 2012. Several phases have to be undertaken in order to develop the technology and videos.

Phase One  - Shoot and edit for affect and opacity

Ginslov researched affect and the haptic together with dancer Wubkje Kuindersma during this residency. Screendance videos were shot in and around Copenhagen where the "carnivorous" was employed to explore, nudge, sniff and tease out affect and haptic moments found in locations in Copenhagen. By working with certain parameters each location brought to the dancer, movement and camera moments of affect, nuances, rhythms and temperatures. Overlays and opacity levels in the edit further amplified this.

Discussions, Research and notes JG & WK

Affect and haptic

22 November

Looking for choreographic process and parameters to find affect

Questions:

1)    What affect is in the building?

2)    What tension, rhythms, frictions?

3)    What energies, vibes, sensations?

4)    Physical responses

5)    Emotional history

6)    History

7)    Ambiguities

8)    Resonances of the space

9)    Sounds

10) Smells

11) Temperatures

12) Colours

13) Textures – the architexture

14) Presences between, inside, inside the cement

15) Shapes - negative and positive

16) What are the affordances in the space?

In each location these questions were asked. The dancer WK improvised with these parameters and reflections, neither using mimicry or representational movement to capture and draw out the affect of the space that she tuned into. JG captured this with the “carnivorous camera” and amplified this in then edit.

Documented research on Affect and haptic imagery may be found in Ginslov’s article for the K3 Seminar:

Jeannette Ginslov will uncover the differences between the haptic and affect, the technological mediation and capturation of affect and the haptic in screendance, arriving at resonances, tactility, "shimmers", the ineffable and experiential...in other words the capture of life forces - the camera becomes carnivorous.

Photos of Meeting in Copenhagen 25 Nov 2011

Jay Bolter, Timo Engehardt, Susan Kozel and Jeannette Ginslov

@ Architects Centre Cph DK

 Jay Bolter (left) and Timo Engelhardt (right)

Susan Kozel

Photos taken by JG November 2011 for Affexity Research

Visual imagery for the exploration of Affect and trace temperatures, resonances

 1) Icy shimmers, temperatures

2) Indexical, traces

3) Trace, shimmers, fleeting, “inbetweeness” 01

4)  Trace, shimmers, fleeting, “inbetweeness” 02

5)  Trace, shimmers, fleeting, “inbetweeness” 03

Phase 01 Timetable of Events

The Outcomes of Phase 01 Laboratorium

These preliminary test videos used Copenhagen as a backdrop for capturing affect. All videos have been uploaded onto YouTube for easy access. They are unlisted. To view them one needs to click the link. Only those with this link may access them. All the videos below will be screened 16 December 2011, at the MEDEA end of year function. The videos listed below will be screened on a wall projection in the MEDEA Lab space.

All Videos

Directed, Shot & Edited: Jeannette Ginslov

Dancer: Wubkje Kuindersma

Videos Produced by Walking Gusto Productions © 2011

Videos

Clip #1 Carlsberg https://www.youtube.com/watch?v=umlCMJ7Numg

Clip #2 Ghost Hands https://www.youtube.com/watch?v=mExoLrKyFoU

Clip #3 Delicate Passage https://www.youtube.com/watch?v=aE0fWBuXfoI

Clip #4 Laughing Bells https://www.youtube.com/watch?v=MYrvAHswcd0

Clip #5 Red Walls Feet https://www.youtube.com/watch?v=aRbm7BNYVfU

Clip #6 Red Wall Dreaming http://youtu.be/oh5l1r1FEd0

Familiar Stranger – Choreography, Performance and Concept by Wubkje Kuindersma. Direction, camera and edit by Jeannette Ginslov. This was also shot this during the Laboratorium and explored affect and the haptic. It is 11:30 mins long and is a video art installation work. It will be featured at the MEDEA evening, on another monitor.

Collaborators

Prof Susan Kozel (currently based at Medea Collaborative Media Initiative, at Malmö University is responsible for concept, artistic direction, mixed media choreography and project management) SK

Jay David Bolter (Professor of Media and Technology, Mixed Environments Lab at Georgia Tech, Atlanta, USA) JB

Maria Engberg (Lecturer at Blekinge Institute of Technology, Sweden) ME

Jeannette Ginslov (Independent Screen Dance Artist, Online Producer & Choreographer) JG

Karolina Rosenquist (Medea Collaborative Media Initiative, Malmö) KR

Wubkje Kuindersma (free lance dancer and choreographer based in Copenhagen) WK

Timo Engelhardt  (Masters Student Malmö University Computer Science Department: Software Design) TE

Two other students from Georgia Tech are also involved in the project:

Nachiketas Ramanujam and Sanika Mokashi will work on the AR programming in USA

A composer will be found to compose an original sound score. Andrew Spitz is a possibility. He will soon be starting a Masters in Interaction Design at CIID in Copenhagen

ends

Hello dance-techers,
These are  some notes about two important topics that I have been receiving a lot of questions recently.

I want to clarify:

-You may customize your email notifications. 
dance-tech.net platform  allowes you to  decided what can of emails or communication would you like to receive. It is easy: go to you profile page (My Page and Stuff), settings, e-mail and then click or unclick your desired functions.

-Donation system:

Since last September we rolled out  a voluntary donation system integrated with the site logging system.

The system is set to ask you for a donation every time that you want to log in and may select what you do.

IMPORTANT: IF YOU DONATE 0.00 IT ALLOWS YOU TO GO IN anyway.!

IF YOU DONATE ANY AMOUNT  IT WON'T ASK YOU AGAIN AFTER  30 DAYS.

PLEASE READ THE PROMPT SCREEN.

I suggest 4.95 $ per month  but you can donate any amount!

Important for automated monthly donors:

For members that kindly have set up a monthly donation before this systems was installed, you may continue that way and always disregard the prompt,  or cancel your monthly donation in your PayPal account and make the desired donation every month when you are promted.

We are working to set up  an automated monthly payment system.

Please read this post from September 12th 2011 about this system:
http://www.dance-tech.net/profiles/blogs/important-automated-donations-system-launched-in-september-2011-t

Thank you for you attention,

Marlon

Amsterdam,

Nov 28th 2011

WALA! what about Live Art?

A project by La Porta (www.laportabcn.com) in collaboration with the Live Art Development Agency from London (www.thisisliveart.co.uk)

WALA! What about Live Art? is a cycle of activities intended to inform and approach to the audience and professionals of Barcelona the work of the Live Art Development Agency. An international benchmark known for its capacity to generate innovative and efficient projects for the professional development of contemporary Live Arts.

La Porta has invited the people in charge of this agency, based in London, to expose and share with us their strategies and working methodologies. We will also practice some of the diverse tools they have developed in the last years and approach the creative universes of some artists they usually collaborate with. 

LECTURES / SCREENINGS / WORKSHOPS / PERFORMANCES / MEETINGS WITH THE ARTISTS 

From 7th to 11th of December 2011 at La Porta__casa and Caixa Forum / Free entrance

--------------------------------------------------------

TUESDAY 13th

December Tuesday 13th 8pm at La Porta__casa / Free entrance

22 March 2012, on International Water Day, Symposium on ‘water issues relating to environmental landscape sustainability’ held on the TAP.
Organised by Mohamed Amin Hammami & Hichem Rejeb from Horticulture, Landscape & Environment Research Unit of Higher School of Agronomical Sciences of Chott Meriem, IRESA, Sousse University – Tunisia

Themes :
- Water and landscape construction of yesterday. What to do today?
- Water and landscapes across disciplines
- Waters and landscapes: issues of layout development & territorial scales

Timeline:
- 26 November 2011: open call for submission & info available on
http://water-wheel.net/taps/dock/129
- 30 January 2012: deadline to send performance proposals & abstracts to:
amin.hammami@voila.fr
hrejeb62@yahoo.fr
- 1 March 2012: deadline for completing accepted papers
- 3 months after the symposium: publication of the proceedings (book & pdf file)

information -- Submission and call of paper :
http://water-wheel.net/m/83/61/67/-2266761831.pdf

download the Intention to participate :
http://water-wheel.net/m/68/33/89/16568933682.rtf

Martha Graham Dance Company Launches
On the Couch: An Inner Monologue Competition
 
Online video competitors interpret the psychological meaning of dance 
Winning video will premiere during Martha Graham Dance Company's
New York season in March 2012 
On the Couch: An Inner Monologue Competition
 
New York, NY - November 22nd, 2011 --- The Martha Graham Dance Company announces the launch of its online video contest, On the Couch: An Inner Monologue Competition.  As part of its "Inner Landscape" season theme, the Graham Company is calling for contestants to create a monologue for a Graham solo dance that suggests a patient in a therapy session.  
 
The contest is a light-hearted component of the Martha Graham Dance Company's Inner Landscape season, which focuses on Graham's revolutionary innovations in psychological dance.  Graham famously said, "I wanted to find a way to reveal the inner landscape - to chart a graph of the heart." The company will present a range of performances, special events and educational activities all as part of the Inner Landscape theme.  Highlights include premieres of new works for the Graham Company by eminent choreographers Lar Lubovitch and Yvonne Rainer. 
 
Participants can enter the On the Couch Competition by downloading a video of a three-minute Graham dance.  The dancer begins and ends the solo on a couch and dances through a series of emotions.  The contest challenges competitors to add a voice-over or text to the solo that reveals the character's thoughts beginning with the sentence, "Doctor, it's happening again." Graham's legendary quote, "Movement never lies," must also be used somewhere within the monologue. 
 
A panel of experts in psychology, dance, music, creative writing and media will select winners based on creativity and overall enhancement of the original video clips.  Judges will include Mark St. Germain, award winning playwright and author of Freud's Last Session and Julie Jaffe Nagel, psychoanalyst, musician and chair of Psychoanalytic Perspectives on Music for the American Psychoanalytic Association among others. 
 
The winner will receive $500, and the winning video will be premiered during Martha Graham Dance Company's New York Season performances in March 2012.  The second and third place winners will receive $300 and $200 respectively.   All three winners will be promoted widely -- particularly in connection with performances of the Inner Landscape theme. 
 
"The Graham Company is leading the world of modern dance in experimenting with innovative ways to connect with new audiences," says Janet Eilber, Artistic Director of the Martha Graham Center and creator of On The Couch.  "This project is a follow up to our 2009 video contest, the Clytemnestra ReMash Challenge - which was a first for the field and had international impact.  Releasing historic masterpieces to be reinterpreted using the latest in technology leverages our legacy of innovation by adding new points of access for audiences worldwide."  
 
"Dancers in the Graham Company are constantly inventing the interior life of the characters they dance," said Tadej Brdnik, Martha Graham Dance Company Principal Dancer, coordinator of both video contests, and performer of the On the Couch solo.  "Through On the Couch, we are opening this process to artists of all kinds -- inviting them to create new psychological interpretations of this short Graham solo.  In a way, it's our rehearsal process in reverse.  It's also an engaging way to showcase Graham's rich influence even on today's global culture." 
 
Details of On the Couch: An Inner Monologue Competition including instructions and rules of the competition can be found at http://onthecouchcompetition.tumblr.com. The competition opens on November 22, 2011 and the submission deadline is 11:59PM Eastern Standard Time on February 1, 2012. Winners will be announced on March 12, 2012. 
 
The Martha Graham Center's Inner Landscape season is a partner of Brain Awareness Week.
 
The Martha Graham Dance Company:
The Martha Graham Dance Company has been a leader in the development of contemporary dance since its founding in 1926.  Today, the company is embracing a new programming vision that showcases masterpieces by Graham, her contemporaries and their successors alongside newly commissioned works by contemporary artists.  With programs that unite the work of choreographers across time within a rich historical and thematic narrative, the company is actively working to create new platforms for contemporary dance and multiple points of access for audiences.  
 
Since its inception, the Martha Graham Dance Company has received international acclaim from audiences in over 50 countries throughout North and South America, Europe, Africa, Asia, and the Middle East. The Company has performed at the Metropolitan Opera, Carnegie Hall, the Paris Opera House, Covent Garden, and the John F. Kennedy Center for the Performing Arts, as well as at the base of the Great Pyramids of Egypt and in the ancient Herod Atticus Theatre on the Acropolis in Athens, Greece. In addition, the Company has also produced several award-winning films broadcast on PBS and around the world.  More information can be found at www.marthagraham.org.

SEE IT ON : http://companhialimitda.blogspot.com/2011/11/amor4-versao-parada-gay.html

Scholarships for professional Actors, Dancers, Directors, Choreographers

IUGTE and ArtUniverse have announced five scholarships
The scholarship amount is 300 EUR and covers part of the participation fee

International Performing Arts Lab - Italy

December 2 - 4, 2011
 
Organized by IUGTE & ArtUniverse with the support of 
A.B.I.T. Academy Armata Brancaleone - International Theatre Academy - Italia

 
PARTICIPANTS

The program is designed for experienced actors, dancers, actors of physical theatre, circus performers, choreographers and directors - performing arts practitioners with professional stage experience working in various genres, techniques and styles - interested to find new international network opportunities and collaborators.

To apply for the scholarship, candidates should send CV/resume with photo and a cover letter to physiktheater@gmail.com 

The programme includes intensive practical training with the Russian theatre director and teacher Sergei Ostrenko. The Lab is a great opportunity to approach a unique methodological and practical material that will enrich your professional skills and will offer you the possibility to share an intense creative experience at a global level. Moreover, the Lab represents a wonderful chance to start new collaboration projects in Russian repertory theatres. 
 
Participants can receive the Certificate of Participation.

The working language is English.

Past events: http://picasaweb.google.com/globtheatre

Lab programme: http://www.iugte.com/projects/lab
http://youtu.be/8pN6pCaJhXA

Best regards,

Alex Weller
Project Coordinator

IUGTE
www.iugte.com

Some clips from the rehearsal and the show day.

Orbe is a Multimedia platform play in which most of the media content is interactive .
Duration 45 mins.

It,s a history about the inner and outer being and the way both influence and evolute togueter.

Orbe was part of the Bad-Bilbao festival and was shown on the 30th of november.
bad-bilbao.com/​2011/​orbe-plataforma-multimedia/​


Director: Zigor Gorostiola Sauce
Interpretation: Ena Fernández
Interactive Designer,Programmer: Abraham Manzanares
Musical Production: DJ Amnsia
Therapeutic dance: Izaskun Zelaia
Assitant helper : Itzi Recalde Fragua
Video: Pablo Fernández, Iñigo López
Video resourses : Pausa digital

Thanks to all + :
Zigor for his effortless will of making things.
Irene Pereira for caring.
Izaskun Fernandez in place and show help .
,Itzi,Ena,Izaskun;Iñi,Pablo
Jesu y Piti for sharing their place .

Music of the video :
David nod - Noised - miga-label.org/​eng/​miga41.htm

Independent Artist and Researcher at MEDEA

Introducing Jeannette Ginslov: Independent Artist and Researcher

Jeannette Ginslov’s work centers around affect, haptic and digital materiality on several platforms: stage, screens, online and new media applications. Ginslov is currently working with Prof Susan Kozel at MEDEA on the project Affexity that draws together screendance, visual imagery and mobile networked devices. This is an introduction to Ginslov’s work.

By: Jeannette Ginslov

The simple clash between subject and style is a painterly one; the uncompromising line is made to yield to a curve. Only this defeat makes movement possible. (Jeanette Winterson, Art and Lies, 1996)

This quote aptly describes my journey that curves its way through a practice and research area that spans many years, modes and platforms of production.

My roots are in Performance Art, protest theatre and contemporary dance theatre within the context of an Apartheid South Africa as a performer, choreographer and artistic director. The classical and contemporary dance training in South Africa, New York and France afforded me the tools to practice and research sites of resistance through the body and movement. Ironically after my first choreographic work, Sandstone, which was banned, I felt a sense of agency that led me to create over 40 live performance stage works exploring the Representation of Politics and the Politics of Representation. Here is probably the first South African screendance work ever produced: Sandstone (embedded below)

In 1998 I armed myself with a Master of Arts in Choreography based on the Body and the Dance Factory as sites of Resistance, exploring postmodernist feminist dance practices and choreographic strategies. My later works and collaborations in a post apartheid South Africa led to intermedia explorations with video, interactive media and movement. See the Intermedia/Interdisciplinary Collaborations YouTube playlist, also embedded below.

I supported my practice by teaching dance for dance companies, community centres, lecturing at universities and film schools. I also trained performers in Alba Emoting – a somatic practice for eliciting authentic emotions: CoNCrEte and see emotional body works I conducted in South Africa (CoNCrEte embedded below).

I left South Africa in 2008 with my son Jared, in order to study for an MSc in Media Arts and Imaging Screendance, at Dundee University Scotland, where I researched and wrote on the concrete and the digital: emotional and kinaesthetic amplification of the authentic and digitalised body in screendance. My research and outcomes explored Deleuse’s notion of affect, Laura U Marks ideas of tactility and the haptic, Massumi’s phenomenological ideas on sensation and movement, Dogme 95 filmic practices, the “carnivorous camera”, vertical montage and repetition in the edit as a choreographic tool.

In 2009 I started exploring other sites and modes of production with the use of online platforms and became associate producer dance-tech.net. I am a moderator for content on dance-tech.net that uses the most advanced social software platforms and internet rich multimedia applications. dance-tech.net provides movement and new media artists, theorist, thinkers and technologists the possibility of sharing work, ideas and research, generating opportunities for interdisciplinary collaborative projects.

I am also the creator of MoveStream that provides an interdisciplinary platform that investigating the crossover between the boundaries usually found in media/dance/cinema/video and the internet. It provides a fresh and adaptive evolving domain for the public to engage with culture, choreography and performance. As a networked phenomenon, it encourages a much needed flow and exchange in Screendance discourse. It offers a new Screening portal for Screendance makers with the possibility of developing new online performance vocabularies that reposition dance performance as a multi-sited, digitally mediated art form. Ease of accessibility encourages viewers to engage with the ontologies that are foregrounded in the interviews. It also serves as an open archive for Screendance, preserving the past with the capability of re-informing the present.

Presently I am researching and exploring Screendance, Affect and augmented reality with Prof Susan Kozel at MEDEA, Malmö University. The project, Affexity is an interdisciplinary collaborative project with drawing together screendance, visual imagery and mobile networked devices (see video embedded below).

It will use a free open standards augmented reality web browser called Argon running on the iPhone and iPad for the location of choreographies embedded in city spaces. Focusing on affect and corporeality, these little narratives will be geospatially and accessed by viewers using mobile devices. The city used for the pilot performance will be Malmö, Sweden.

July 16 to August 19, 2012
Magpie improvisation summer course Amsterdam registration beginning now!

The Magpie Improvisation summer course Amsterdam is an intensive study of improvisation in music, dance and performance. The course is held at the studio seven in with Katie Duck(performance and dance), Alfredo Genovesi (music) and Miri Lee (performer/admin). They provide a five week workshop, tutorials and rehearsal space for the participants. Alongside the the five week course period, open classes and performances are led by local & visiting artists & participants.

August 20-24, 2012
Magpie collective workshop orgelpark Amsterdam registration beginning now!
Katie Duck & Vincent Cacalano  & Jos van der Kooy (church organs) &  Alfredo Genovesi (electric guitar & electronics) 

The Magpie collective workshop has been held in Amsterdam in the last week of August since 1995 and held at the Orgelpark church organ concert hall in Amsterdam since 2007 with a focus on the church organ as an improvisation instrument.