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MotionFrames is an integrative installation that explores evolving dance images under software controlled video playback. A collaborative project in the generation of an aesthetic environment that conveys the urban landscape of the city and movement artists from Switzerland. Under the direction of composer Cristian Vogel, dancers from Bern will create video clips that feature the interaction between dancers, the environments of the city and real time software processing. These clips will be displayed during the festival and participating artists of the festival will be offered to participate and create new content. Content will be updated daily during the festival.
Conception: Cristian Vogel and Gilles Jobin
Direction: Cristian Vogel and Marlon Barrios Solano
Programming: Cristian Vogel
Production: Gva Dance Media Lab/Cie Gilles Jobin
In collaborations with Bern dancers:
Marion Ruchti
Marcel Leemann
Dominique Cardito
Ismael Oiartzabal
Maja Brönnimann
Azusa Nishimura
Emma Murray
Motion Frames has been initially developed in the Gva Sessions Made In Yokohama/Japan in summer 2010 and it is the inaugural project of the Gva DanceMedia Lab/Cie Gilles Jobin
Upcoming this summer!
GVA Sessions 011
Dialog: Sound and Movement
July 16th - 23rd 2011
Contact: gvasessions11@gillesjobin.com
Studios 44,
44, rue de la Coulouvrenière, Geneva
Switzerland
Don’t miss the 3 projects of Cie at 8th edition of the Swiss Dance Days from March, 3 till 6 in Bern (Switzerland)!!
> Spider Galaxies
Discover Spider Galaxies, the new creation of the Cie Gilles Jobin, in pre premiere on March 3rd at 4 pm for the opening of the festival and on March 4th at 8 pm.
> A+B=X
The Cie Gilles Jobin will present an excerpt of the first group piece of the choreographer, A+B=X (creation 1997), on Saturday, March 5th at 2:30 pm.
> Motion Frames
Integrative installation directed by Cristian Vogel and Marlon Barrios - March, 3rd till 6th.
The dancers will create video clips that feature the interaction between dancers, urban environments and real time software processing. These clips will be displayed during the festival, and artists present at the festival will have the opportunity to participate and create new content.
It is the inaugural project of the Gva Dance Media Lab.
Conception: Cristian Vogel and Gilles Jobin.
Work:
louder (2008)
A telling orchestra is rigged on a rusty wire and a tidal wave of pictures and sounds is thrown at us by a machine so fragile that it is in constant danger of short-circuiting. Among a pile of megaphones that hurl sound in all directions, and a knot of wires so stretched that they may break at any moment, we glimpse people. People who are trying to interact with this landscape, tugging at strings that are everywhere in the room. The strings hanging from the ceiling form the stage for a mass of figures. A mechanical puppet play takes place here - over the heads of the human figures. louder is a storytelling orchestra that hangs by a rusty wire and narrates a multitude of tales through sound and images. Tales from a distant past, tales from our time, about wars, river, the theatre, the nation, music, nature, technology, the journey and about exile. In the midst of this throng, we find a heart of darkness - a long, black barge on the open sea, radiating coldness and stories.
FORTELLERORKESTRET (2005/06)
"FORTELLERORKESTERET" ("The Telling Orchestra") is a "live" room-installation that can be described in many ways: An audio-visual composition where rusty mechanics meets new technology on the backside of a "video-shadow-theatre" on Greenland. A machine, a polyphonic instrument, or a whole orchestra with many voices and tunes,mutating shapes and interwoven stories. An electro-mechanical construction that functions as an audio-visual "animation-machine"or a mechanical figure-theatre machinery, where images, sculptures, sound and video is deeply integrated into each other to form an audio-visual-spatial composition.
By use of computer controlled motors and robotics the primitive wooden construction of old weather-beaten planks has become
an automatized sculpture-machine with the ability to in a second, totally transform the space in radical ways.
CONCERT FOR GREENLAND (2003/05)
"CONCERT FOR GREENLAND" is an audio-visual composition where rusty mechanics meet new technology on the backside of a "video-shadow-theatre" on Greenland. A performance/installation where visual art, sound, video, installation, text and theatre try to unite into one composition.
The background for "Concert for Greenland" is a journey Verdensteatret made to Greenland and other north-Atlantic islands in 2003.
Greenland as the focus point of this work is, as often before, a result of an intuitive attitude towards use of artistic material and the fact that research on travels has worked very well for us on several occasions earlier. The material is based on travels and research around the Northwest-Atlantic countries from august till November –03. -Greenland, Iceland, Faeroe Islands -and Norway.
In the further working process in Oslo all the material collected on these trips went into a deeper artistic process that in the end "sweat out" a poetic concentrate. The longest stay was in Greenland and has obviously made a deep impression on us since so much of the material we ended up using comes from our travels there. The ambivalent impressions we often felt during our stay in Greenland has changed into deep fascination. "Concert for Greenland" reflects this journey on several levels simultaneously.
On the first level it mirrors the actual trips (specially Greenland). But the structure and artistic expression of the performance is more like images and sounds from the subconscious experience of these Nordic journeys, rebuilt through our dreams or our unreliable memory. On still another level its an expedition through a sound-scape, through language and visual transformations.
MORE INFO, IMAGES, AND VIDEO -->
Body Pixel is:
"Deborah Hustic aka body pixel – artist, blogger, web dreamer… working with analogue and digital media."
The blog keeps popping up in my Google Reader with neato interviews, complete with fascinating questions and suggestions about dance & technology intersections:
example:
Interview with Scott deLahunta, part 1: On working processes and digital realmsPLEASE CIRCULATE
Call for papers
Music and Gesture : 2nd Musical Itineraries Forum
Lisbon, Portugal, 28 and 29 October, 2011
The Center for the Study of Sociological and Musical Aesthetics – CESEM (Faculty of Humanities and Social Sciences, University NOVA of Lisbon), announces the call for papers for the 2nd Musical Itineraries Forum: ‘Music and Gesture’ taking place in Lisbon, 28 and 29 October 2011.
The Musical Itineraries Forum was established in 2010 as a meeting place for interdisciplinary debates and presentation of scientific projects, encouraging the discussion between researchers, performers, students and creative artists. This Forum promotes an open critical reflection on contemporary subjects in artistic practices fields and music and sound discourses and its relationships with other disciplines. Its main purposes are: 1) to address innovative areas of research in the fields of music and sound and establish synergies between a variety of scientific and artistic domains providing e opportunities for meeting and discussion between artists and researchers from diverse origins, as well as promoting the crossover between theory and practice; 2) to establish dynamic and interdisciplinary methodologies that will contribute to “the state of art” advances in this field of study, revisiting and highlighting scientific questioning and providing the opportunity for collaboration between national and international researchers.
The 2nd Musical Itineraries Forum, dedicated to music and gesture will focus on the study of the relationships between sound, music, gesture, performing arts and technology. A reflection on how the discourses of identity, culture, power and knowledge are encoded in body gestures involved in artistic expression, links the main lines of thought to be presented at this Forum. Theater, dance, audiovisual, new technologies, and their crossover with sound and musical expression are the areas on which reflection and debate will be developed, particularly in relation to the representation and dramaturgy of gesture. Keynote speakers will include Atau Tanaka (Director of Culture Lab, Newcastle University), Adam Parkinson (Culture Lab, Newcastle University) and Paulo Ferreira de Castro (Universidade Nova de Lisboa).
We invite all those interested to submit their paper proposals for a 20-minute presentation, on the above topics and including title, abstract (up to 2000 characters) and five keywords. We also request a brief biography (up to 1500 characters), a phone number and an email address, as indicated on the attached form. Proposals should be submitted via email until 16th March 2011 to itinerariosmusicais@gmail.com and cesem@fcsh.unl.pt.
The acceptance of proposals will be communicated until the 10th of April 2011. All additional informations on the 2nd Musical Itineraries Forum can be found at the CESEM’s website: http://cesem.fcsh.unl.pt.
Forum Topics:
1. Gesture, Body, Sound and Space
- Gesture dramaturgies in a performative context. Sound and visual interaction and bodily representation.
- Relationships and ruptures between sound, visual and scenic arts. Gesture and sound expression onstage (classical, virtual, public, hybrid… ): opera, theater, dance, audiovisual, and other artistic expressions and practices.
- Sound production gestures, embodying, technology and performance.
- Information sources for musical and scenic gesture theatrical piece, opera and ballet libretto, film script, iconography…). Problematics of movement notation.
2. Sound, Gesture, New technologies
- Body virtualities, interactive gesture and sound production: problematics, potentialities and interdependences.
- Gesture and virtual sound spaces creation. Virtual gesture and playability: sound and videogames, gesture and sound representation reciprocity.
- Performing arts and new technologies of sound and gesture: body and instrument extension, post-human body, meta-body and meta-instrument.
- Semiotics, semiology and digital semantics: transcription and representation of sound gesture.
- Phenomenological aspects: experience and analysis of gesture’s embodying.
3. Sociology of Performance Practices: discourse, representation, power and mediation
- The power discourses, knowledge, culture and identity in gesture, choreography, staging and the performing arts.
- Institutional aspects, markets, production networks, industry and public of performative arts.
- Performative gesture representation in the visual arts: film, literature and other collective cultural practices.
4. Gesture Ontologies and Performative Practices
- Gesture, communication, language.
- Theoretical and historical studies of gesture and body in performance practices. Iconographic sources and dance treatises. Choreographic notation issues in historical musical sources.
By decision of the Scientific Committee any proposals that do not address these topics may however be included in a free communication session.
Coordination:
Paula Gomes Ribeiro and Isabel Pires
Scientific Committee:
Carlos Sena Caires (EA / UCP), Isabel Pires (CESEM / UNL), Isabel Valverde (IHSIS), Luís Sousa (CESEM / UNL), Paula Gomes Ribeiro (CESEM / UNL)
Organizing Committee (CESEM):
Beatriz Serrão, Ernesto Donoso, João Romão, Luzia Rocha, Manuela Oliveira, Rui Araújo
Calendar:
Proposal Submissions: from 20th January to16th March 2011
Acceptance Notification: until April 10th 2011.
Language:
Portuguese, English and French
Subscriptions:
Subscription with communication including two meals : 50€
Subscription with communication without meals : Free
Entrance is free
Organization:
CESEM, FCSH, UNL
Subscription Form / Proposals Submission
2nd Musical Itineraries Forum: Music and Gesture
Lisbon, 28 and 29 October 2011
Please complete the following information and send to itinerariosmusicais@gmail.com and cesem@fcsh.unl.pt
First Name:
Last Name:
University or Institution / Profession:
Address:
City:
Postal Code:
Country:
Telephone / Mobile:
Email:
Paper Title
Abstract (up to 2000 characters):
5 keywords:
Supplementary Informations:
Musical Itineraries Forum : itinerariosmusicais@gmail.com
CESEM (Centro de Estudos de Sociologia e Estética Musical)
Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa
Av. de Berna, 26-C 1069-061 Lisboa Portugal
cesem@fcsh.unl.pt
Tel. (351) 217 908 300 ext. 1496 Tm. (351) 96 555 37 55
Watch live streaming video from y30futurist at livestream.com
The Y+30 Meetup is designed as an authentic forum for discussing what the world might look like in +30 years. We ask which trends and technologies are emerging today that will have formative effects on the not too distant future.http://www.meetup.com/BLKNY30/
In the past, activism meant taking to the streets in protest, holding up a sign and showing solidarity through sit-ins and slogans chanted. As we've seen the developments in Egypt unfold, people have still taken to the streets, yet now it's supplemented by hashtag chatter, citizen journalism, photoblogging, and livestreaming. As new technologies emerge, activism and outreach efforts morph and expand. There have been paradigmatic shifts in philanthropy towards micro-giving and recently, micro-volunteerism. Platforms like Causes and sms-based giving have made it easy to donate in one click, and some say DDoS attacks are the new sit-in and charity tweetups and flashmobs are the new form of protest. What will the future hold? Please join us for a panel on the future of activism that will focus on future trends and innovation forecasts for Y+30: What will activism look like in 30 years?
Our esteemed panelists include Frank Cohn, Founder and Executive Director of Globalhood; Jacob Colker, Co-founder and CEO of The Extraordinaries/Sparked.com; Emily Jacobi Co-founder/Co-Director of Digital Democracy; and Marlon Barrios Solano, Founder and Executive Director of Dance-tech Interactive. As a special treat, we will also be joined by Jean Ulysse, a Haitian teen activist from the Global Potential program -- who better to envision the future of activism than a teen whose future it will be?
Frank Cohn, Jean Ulysse and Emily Jacobi will be joining us in person, while Jacob Colker and Marlon Barrios Solano will be joining us via videoconference. We'll be livestreaming it, so if you can't make it there, you can watch it live or later at http://www.livestream.com/y30futurist
Tickets for this event are $10 and are available through the 92Y Box Office.
Want to tweet about it? Use Twitter hashtag: #y30
Panelist and Moderator Bios:
Frank Cohn, Founder and Executive Director of Globalhood. Since 2007, Frank Cohn has run Global Potential, an innovative flagship program taking youth from inner-city neighborhoods on transformative journeys abroad to do community service and cultural exchange in rural villages in the developing world, then returning home and creating change in their own communities. He also works part-time as the Associate Director of Bushwick IMPACT, a family resource center for low-income immigrant mothers in Brooklyn. Originally from Vancouver, Canada, he has worked with youth, women's, and community groups in over 50 rural villages and 10 cities in 13 countries. His previous work includes a post as Field Director for an NGO in Central America, and with the United Nations in Social Policy and Development. In 2010, Frank won the Emerging Social Worker Award from the National Association of Social Workers - NYC Chapter, and was also designated a "Robin Hood Lionheart". In 2008 he was selected as a We Are All Brooklyn Fellow and is currently on their steering committee, and in 2005 he was the Founding President of the Columbia University Partnership for International Development (CUPID). Frank brings 12 years of managerial and supervisory experience with designing, running, and evaluating community service and development programs. He has lectured at Columbia and New School Universities, and conducts trainings on Non-Profit Start-up and Management, Social Entrepreneurship, Evaluation, Communication, Stress Management, and Team Building. Frank holds his Master of Science in Social Work from Columbia University, specializing in International Social Development and Social Enterprise Administration, and speaks fluent French, Spanish and Mandarin Chinese, and is functional in Hindi, Haitian Creole, and Italian. * One of the teen activists from the Global Potential program will be joining us! http://www.global-potential.org Twitter: @globalpotential
Jacob Colker, Co-founder and CEO of The Extraordinaries/Sparked.com. Jacob Colker is a recognized leader in political activism and issue advocacy, and a leading voice in the use of technology for community engagement. Jacob has managed political campaigns in California, Illinois, and Maryland, and he was one of the first field directors in the country to leverage Facebook in a major political campaign to win a statewide election. Jacob has also managed issue advocacy campaigns for The International Campaign for Tibet, The 1Sky Campaign, and other non-governmental organizations, both in the U.S. and around the world. Fun Fact - Jacob *loves* playing in rock bands and debating politics. http://sparked.com Twitter: @jacobcolker
Josephine Dorado (moderator), Professor at the New School/Founder of Kidz Connect. Josephine Dorado is a social entrepreneur, educator, artist, interactive events producer and skydiver. She was a Fulbright scholarship recipient and initiated the Kidz Connect program, which connects youth internationally via creative collaboration and theatrical performance in virtual worlds. Josephine also received a MacArthur Foundation award to co-found Fractor.org, which matches news with opportunities for activism. She currently teaches at the New School and is the live events producer for This Spartan Life, a talk show inside the video game Halo. Upcoming ventures include reACTor, a location-based mobile gaming app that connects news with social action, as well as ongoing projects in mixed reality and networked performance. http://funksoup.com Twitter: @funksoup
Emily Jacobi, Co-founder/Co-Director of Digital Democracy. Emily Jacobi has worked on media, youth development and research projects in Latin America, West Africa, Southeast Asia and the US. Emily began her career as a youth journalist working to highlight young people’s voices in professional media. At the age of 13, she reported from Havana, Cuba on the lives of young Cubans during the Troubled Period. She previously worked for Internews Network, AllAfrica.com and as Assistant Bureau Director for Y-Press. Since January 2007 her work has focused on researching and supporting the capacity of local organizations in closed and transitioning societies. At Digital Democracy Emily manages staff, oversees strategic planning and development and works directly with grassroots partners on program design for human rights and community engagement. http://digital-democracy.org Twitter: @emjacobi
Marlon Barrios Solano, Founder and Executive Director of Dance-tech Interactive. Marlon Barrios Solano is a Venezuelan professional nomad, Vlogger, on-line experimental producer, consultant, researcher and international lecturer/workshop leader based in Geneva, Switzerland and New York, USA. He is a lecturer for the Masters on Performance Practices and Visual Cultures for the Universidad de Alcala (Spain) and is the advisor on collaborative technologies for the South American Network of Dance and the Gilles Jobin Company (Switzerland). Marlon is also associate producer for DanceDigital (UK). He is the executive director of Dance-tech Interactive and creator/producer of dance-tech.net, a social networking site, dance-techTV, a collaborative internet video channel, and of dance-tech@, a series of online video interviews exploring innovation and interdisciplinary investigations on the performance of movement. He has also developed several projects on collaborative journalism and the arts. With a hybrid background in dance, new media technologies and cognitive science, he continues to investigate the intersection of the performance of motion with new media technologies, real-time composition (improvisation and interactive technology), embodied cognition while experimenting with on-line platforms for the development of sustainable models of knowledge production-distribution among trans-local communities and contexts. As a professional dancer in New York City, he performed nationally and internationally with Susan Marshal and Dancers (1997-2000), Lynn Shapiro Dance Company (1995-1998), and with the choreographers Merian Soto, Dean Moos, Bill Young, among others. He also performed with the musicians John Zorn, Philip Glass and Eric Friedlander. Under Unstablelandscape (2003-07), he performed and researched improvisational performances within digital real-time environments performing in the US and Europe. http://www.dance-tech.net Twitter: @dancetechnet
Our archive is a treasure chest! This week we uploaded a serious of great videos both performances & documentaries of/about Stelarc's ground breaking works from 90's!
If you are as intrigued as we are by his works we are confident that you'll enjoy the videos /documentations.
Please check it out:
http://www.v2.nl/archive/people/stelarc
MoveStream 05 - Screendance | Scandinavia
11 February 2011
Interview with Rannvá Káradóttir
This interview is one of the many that I will be uploading as part of MoveStream's focus on dance videos/films made in the Scandinavian countries. The series investigates the directorial choices that Scandinavian filmmakers make and asks more specifically about the dark emotional tone that is seemingly present in most of the works coming from Northern Europe. It will explore this and ask why - is it psycho-geographic? or....
Margaret Sharrow says about Magma after visiting Liverpool Biennial. "It may be apparent by now that I have longed to go to the Faroes for many years. This film was far more than imaginative transport, however. It seemed not to posit an impossible relationship between the people and the landscape; instead the black-clad figures became high-speed embodiments of the geological ultraslow dance of the land itself - the magma..."
Rannvá Káradóttir was in Copenhagen last week to show her dance film BOW which won the DFA Dance for Camera Jury Award in NYC in Jan 2011. I asked her about her screendance work Magma, and what makes it so surreal and other.
Magma is the first film in The Cycle, a series of 8 experimental short films that embrace and discover movement through camera. The films are shot in the extreme and wild landscapes of a remote group of islands far up in the North Atlantic Ocean, The Faroe Islands. Fragmented stories are unraveled in these open and empty spaces, enhanced by the uncontrollable and extreme weather conditions that have an important character in all the films.
Deprived from dialogues and narratives, the repetitive patterns of movements, costumes, music, landscapes and other components create an intriguing atmosphere that takes the viewer to a surrealistic yet hauntingly beautiful universe.
Photographer: Katrin Svabo Bech© Marianna Mørkøre & Rannvá Káradóttir
R A M M A T I KRannvá Káradóttir & Marianna Mørkøre
R A M M A T I KRannvá Káradóttir & Marianna Mørkøre
To read more about The Cycle, visit www.rammatik.blogspot.com
Interview
Shot and edited by
Jeannette Ginslov
Location
Dansehallerne Copenhagen Denmark
MoveStream is a co-production with www.dance-tech.net
If you were a child in the 80s, you may have been inspired to dance by the movies Flashdance, or Dirty Dancing, or Footloose. I wasn’t as cool at the time, I saw the American Ballet Theatre’s Nutcracker (1977), recorded by my mother from television, and proceeded to imprint the images into my eternal memory. (I now realize I confused Snowflakes for Sugar Plum Fairies. Same dancers, different roles. Light and ethereal nonetheless.) The point is that these initial images, this initial exposure, defined dance as art for me, as images from movies do for many dancers. One of the first dance movies to do this was likely The Red Shoes (1948). In the movies, we recognize our cultural selves.
In the movies, in cultural relics, we identify our myths. Our myths define our lives, our drives, our passions, and purpose.
Dance is full of mythology. It appears in its various ways and forms. The stories of fictional Billy Elliott, of real-life Bill T Jones mingle together on the mythographic plain. Happily, our culture has its pervasive myths, dance-related or otherwise. Life without myths would be unspeakably boring, and likely does not exist. The difficulty with myth lies in the forgetting- myths warp over time and the telling.
And so, the question becomes: whose myth is it, and who is doing the telling?
Myths evolve. Stories adapt to the human conditions of the times, or are left by the wayside. Who has heard of Salome? Martha Graham? Madonna?
In myths, birds are popular. Maybe because they are so elusive, maybe because they fly and people aspire to flight. Maybe because they are haunting, celestial, entrancing. Watching flocks of birds in flight is the most harmonious choreography I have ever witnessed. In romantic ballet there are swan maidens. As well as sylphs and wilis- ghostlike and airy, if not precisely birdy. The corps de ballet embody these mystical, light things: delicate and rare, captivating and held captive. Elegant and ethereal phantoms that hover around the edges of existence.
In ancient Europe, birds, being highest up to heaven, were considered more appropriate as food for nobility and royalty rather than peasantry. A bird, a swan, being noble and appropriate to a princess, is the alter-ego of the cursed princess Odette in Swan Lake. Based in Russian folklore, characterized by 19th century European royalty, and enlivened by prima ballerinas across the world, it lives on in contemporary mainstream consciousness by way of the movies. In the recent American movie, Black Swan, a psycho-thriller drama stars an actress made famous by Star Wars, itself a contemporary movie mythography. Though not an actual prima ballerina, Natalie Portman reinvigorates the Swan across mainstream contemporary culture.
Swan Lake remains a pervasive myth.
Myth is real. In valuing scientific studies as certain truths, stock market figures as measures of success, and other such (actually unstable) markers of trust, flights of fantasy often become relegated to “entertainment,” and myth equates with fantasy. But myths are pervasive, and come back at us in the form of social norms, philosophical discourses, architectures, popular candies, nervous disorders, hypotheses to be tested in scientific studies, and waves of fashion that make people money and fame and stock market success. This is not an argument against the science of science, or even the business of money. It is an argument against the assumed separation between myth and the world of impact. If myths help define us, they define art, inform ideas and perceptions, have an impact on our bodies and histories. Which is to say, dance has an impact on our bodies, our histories.
Ballerinas were a serious part of my world in the 80s. They now hover on the edges, peripheral pulse of my thoughts.
Laura Taler, maker of the wonderful A VERY DANGEROUS PASTIME and Village Trilogy, said during her talk at Dance on Camera Festival that one of her professors urged her to use proprioceptive writing as a part of her practice. "Through PW you learn to listen to your thoughts with impassioned curiosity, reflect on them imaginatively, and set them free."
Put on music that can run for 25 minutes, listen to your thoughts and play on them in print daily.
According to Wikipedia
"Proprioception (pronounced /ˌproʊpri.ɵˈsɛpʃən/ PRO-pree-o-SEP-shən), from Latin proprius, meaning "one's own" and perception, is the sense of the relative position of neighbouring parts of the body.
In 1906, Charles Scott Sherrington published a landmark work that introduced the terms 'proprioception', 'interoception', and 'exteroception'. The 'exteroceptors' are the organs responsible for information from outside the body such as the eyes, ears, mouth, and skin. The interoceptors then give information about the internal organs, while 'proprioception' is awareness of movement derived from muscular, tendon, and articular sources."
Suggestions to get started...
soak in the natural world
close your eyes and take slow, deep breaths.
Thurs., Feb. 10 & 17; Fri., Feb. 11 & 18 • 7:30pm
Sat., Feb. 12 & 19 • 8:00pm
Sun., Feb. 13 & 20 • 3:00pm
Peak Performances @Montclair
A Piece by Robyn Orlin
Performed by Phuphuma Love Minus, with Xolisile Bongwana, Vusumuzi Kunene, Ann Masina, Thulani Zwane
American Premiere
Artists around the world are constantly inspired by the beauty, struggles, culture and history of South Africa. Paul Simon's Graceland introduced its musical roots to the pop culture mainstream. Athol Fugard exposed its dramatic wisdom. Now, another South African auteur is taking the pulse of her country's complex social reality.
Robyn Orlin is known for work that can be subversive, outrageous, provocatively humorous, and visually arresting. From her early days as a choreographer during the Apartheid era, Orlin has made a career of confronting taboo subjects with a heightened, vaudevillian theatricality that aims to test and redefine ideas about South African performance.
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.
source : http://www.apodio.org/
project description from website:
http://www.leslaboratoires.org/en/informations/artistic-project
Les Laboratoires d'Aubervilliers are a tool dedicated to artistic research. They intend to gather the necessary conditions for projects that do not fit pre-existing systems of artistic and cultural production. Their organization and structure, as well as the modalities of residency (such as duration of stay and budget) adapt themselves to the hosted proposals.
These proposals allow to renew and question existing modalities of production, as well as their resulting terms of work and address. They belong to all artistic backgrounds. The objects and forms of research do not necessarily fit the usual practices or disciplines the initiating artists may be distinguished for.
Research projects both address the audience through the forms they produce and through invitations to take part in their processes. These participations lead to question the collective dimension of a research, i.e: the nature of shared knowledge and practices, and the way in which this activity organizes itself. These participants are volunteers, and most of them live in or regularly come to Aubervilliers.
Generally, researches are publicized through the Journal des Laboratoires, which exists under three free complementary forms. The paper edition is distributed among a network of French and European collaborators. Public openings are occasionally organized at 8 pm (5 pm on Sundays) and take different forms: performances, projections, lectures, concerts, meals, etc. The archive includes the website www.leslaboratoires.org, reference books, along with the documentation of previous projects since 2001, available for consultation.
Projects hosted by Les Laboratoires d’Aubervilliers may involve cultural, social or scientific structures and institutions, either locally, nationally or internationally committed, as well as structures of distribution and co-production.
Also, les Laboratoires d’Aubervilliers regularly exchange with several European structures: artists, activists or curators collectives, magazines, festivals, mostly self-organized art spaces, schools, etc. They share an interest for the development of alternative approaches to knowledge and practice sharing on a local level, which lead to an ongoing criticism and renewal of what is at stake in artistic research.
Grégory Castéra, Alice Chauchat, Nataša Petrešin-Bachelez
bridging the gap
SELECTED WRITINGS ONLINE
Shanken, Edward A. “Contemporary Art and New Media: Toward a Hybrid Discourse” (draft, in process) 2010 -
Shanken, Edward A. “Response to Domenico Quaranta’s ‘The Postmedia Perspective’”, 2010.
Quaranta, Domenico, “The Postmedia Perspective” (excerpt from Media, New Media, Postmedia) 2010.
Anonymous (Brad Troemel), “[IMG MGMT] What Relational Aesthetics Can Learn From 4Chan”2010.
Slocum, Paul, “New Media and the Art Gallery,” 2010.
Jones, Caitlin, “My Artworld Is Bigger than Your Artworld,” 2005.
Lovink, Geert, “New Media, Art and Science: Explorations beyond the Official Discourse,” 2005.
Baumgaertel, Tilman, “Mafia Versus Mafia: About Tribal Wars Between Conceptual Art And Net Art” 1999.
MEDIA
New Media, Art-Science, and Mainstream Contemporary Art: Toward a Hybrid Discourse?
Panel discussion at CAA Annual Conference, 2011. Full details (theme description, paper abstracts)
Podcasts (.mov audio files) Shared under Creative Commons CC BY-NC license
Part 1. Shanken (chair’s intro), Cristina Albu, Jamie Allen (31′, 22MB)
Part 2. Jean Gagnon, Ji-hoon Kim (28′, 23MB)
Part 3. Philip Galanter, Jane Prophet, Christiane Paul (42′, 34MB)
Part 4. Ronald Jones, Paul Thomas (41′, 33MB)
Contemporary Art and New Media: Towards a Hybrid Discourse? Art Basel Conversation, 2010
Download or View video with Nicolas Bourriaud, Michael Grey, Peter Weibel, and Ed Shanken (36′)
And All the Question Marks Started to Sing
Thursday – Saturday,
February 24 - 26, at 7:30pm;
and Sunday, February 27 at 5pm.
Dance Theater Workshop
219 West 19th Street, NYC
And All the Question Marks Started to Sing is the opening event of FuturePerfect 2011, a new performance, media, art & technology initiative in New York City. Produced in partnership with leading national and international cultural institutions, FuturePerfect highlights new hybrid performance practices, media forms and artistic ideas that emerge as digital technologies and other non-human systems become increasingly inseparable from contemporary culture. Wayne Ashley is FuturePerfect’s Founding Artistic Director.
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Here are some ideas for selection criteria that were developed by AFDA (South African School of Motion Picture), and used in student film evaluations. I have developed them further for use in Screendance evaluations. The 60secondsdance.dk selection committee will also be using them to evaluate and select the top 10, the overall winner and the runner up for 60seconds.
Perhaps some could be adopted and/or amended and used by selection committees.
So far the screendance maker has no means to view any criteria. Can we not publish these online each time there is a call?
60secondsdance.dk
Criteria for judging dance videos/films 2011
Theme: sted/place
The most important criteria: creativity and originality, amplifying the intention, the choreography of movement, adaptation of movement to the camera, the movement of the camera, the rhythm of the edit, the narrative – linear or poetic, the location, costume, objects, set, overall aesthetic “look and feel”, sounds and music used to amplify the notion of “place” or “sted”. We will look out for how “place” or “sted” is translated with kineasthetic and visceral impact, immediately translated and understood by the viewer. We will also take into consideration if the screendance maker has fulfilled all the competition rules and requirements.
The above was published online at www.60secondsdance.dk.
Below are the judges criteria, not published.
Headings from AFDA™
NARRATIVE: Intention, Idea, Concept, Event Progression, Narrative Progression
PERFORMANCE: Psychology, Sociology, Anthropology, Emotional and Physical
MEDIUM: Lighting, Camera work, Movement/Camera/Affordances, Edit
AESTHETICS: Look and feel, Locations, Set, Costumes, Art, Design
CONTROL: Marketing, Management, Finance and Law
- NARRATIVE/CONCEPTUAL RELEVANCE/ INTENTION
Does it reveal/express/explore sted / a place, what, where?
Is this place/intention clear?
The Idea / Concept / Place – originality?
Does the idea come through in 60seconds?
Does every frame speak to/about the intention? Or place?
Structure / Event Progression - Beg/Middle/End is this clear?
Does it tell “a story”?
Simplicity/Complexity in narrative?
- PERFORMANCE/EMOTIONAL/KINAESTHETIC AFFECT
Empathetic impact on viewer - emotional and kineasthetic impact?
Is the emotional tone clearly amplified by the performance?
Is there a visceral impact on the viewer?
Do the performers erformance relate to the place & intention?
Are the performers using the environment to shape their character and movement?
How is the environment used by the dance/dancers?
Are the affordances, the choreography within the location amplifying the
intention?
Performers relation to the camera?
- MEDIUM
Style of delivery
Choreography - use of affordances, intention & place to shape choreography, use of medium/camera to shape choreography, re-adaptation to the camera
Dance style/genre - what type is used to support the intention? Dance style – pedestrian, dance for the camera, adapted to the camera…
Camera work or recording of the image
Camera operation and movement
Adaptation of movement/choreography to the medium/camera
Are affordances shaping the choreography & affecting the choice of shots?
Is it challenging the use of the camera?
Choice of shots and Angles
Handheld / locked off, Dogmatic / Cinematic Experimental / Traditional
Quality of shoot HD / DVPAL
Lighting design
Composition of the shots - adaptation of movement/choreography to the medium/camera
How is the environment used?
Is it shaping the composition of the shots?
Edit / Post production
De-Interlaced/ Compressed
The edit: cuts, rhythm, pace, timing, movement through the shots
Linear or Vertical Montage – fragmented/multi-threading/looping narratives Repetition in edit: predictable and/or unpredictable
PATTERNS OF PREDICTABILITY & UNPREDICTABILITY THAT
MAY BECOME BOTH PREDICTABLE & UNPREDICTABLE
Special Effects
Poetic amplification
Text - spoken/sub-titles/text
Sounds – Diegetic or no sound from set? Music - composed or not?
- AESTHETICS
General “look and feel”
The world of the narrative and character – clearly defined?
The visual form of the narrative clearly defined?
Design Fabrication?
Structuring and manipulation of the design
Location or set and use of it
Costume
Props
- CONTROL
All documents signed, scanned and submitted on time. Not doing so means disqualification.
Here are some ideas for selection criteria that were developed by AFDA (South African School of Motion Picture), and used in student film evaluations. I have developed them further for use in Screendance evaluations. The 60secondsdance.dk selection committee will also be using them to evaluate and select the top 10, the overall winner and the runner up for 60seconds.
Perhaps some could be adopted and/or amended and used by selection committees.
So far the screendance maker has no means to view any criteria. Can we not publish these online each time there is a call?
60secondsdance.dk
Criteria for judging dance videos/films 2011
Theme: sted/place
The most important criteria: creativity and originality, amplifying the intention, the choreography of movement, adaptation of movement to the camera, the movement of the camera, the rhythm of the edit, the narrative – linear or poetic, the location, costume, objects, set, overall aesthetic “look and feel”, sounds and music used to amplify the notion of “place” or “sted”. We will look out for how “place” or “sted” is translated with kineasthetic and visceral impact, immediately translated and understood by the viewer. We will also take into consideration if the screendance maker has fulfilled all the competition rules and requirements.
The above were published online at www.60secondsdance.dk.
Below are the judges criteria, not published.
Headings from AFDA™
NARRATIVE: Intention, Idea, Concept, Event Progression, Narrative Progression
PERFORMANCE: Psychology, Sociology, Anthropology, Emotional and Physical
MEDIUM: Lighting, Camera work, Movement/Camera/Affordances, Edit
AESTHETICS: Look and feel, Locations, Set, Costumes, Art, Design
CONTROL: Marketing, Management, Finance and Law
- NARRATIVE/CONCEPTUAL RELEVANCE/ INTENTION
Does it reveal/express/explore sted / a place, what, where?
Is this place/intention clear?
The Idea / Concept / Place – originality?
Does the idea come through in 60seconds?
Does every frame speak to/about the intention? Or place?
Structure / Event Progression - Beg/Middle/End is this clear?
Does it tell “a story”?
Simplicity/Complexity in narrative?
- PERFORMANCE/EMOTIONAL/KINAESTHETIC AFFECT
Empathetic impact on viewer - emotional and kineasthetic impact?
Is the emotional tone clearly amplified by the performance?
Is there a visceral impact on the viewer?
Do the performers erformance relate to the place & intention?
Are the performers using the environment to shape their character and movement?
How is the environment used by the dance/dancers?
Are the affordances, the choreography within the location amplifying the
intention?
Performers relation to the camera?
- MEDIUM
Style of delivery
Choreography - use of affordances, intention & place to shape choreography, use of medium/camera to shape choreography, re-adaptation to the camera
Dance style/genre - what type is used to support the intention? Dance style – pedestrian, dance for the camera, adapted to the camera…
Camera work or recording of the image
Camera operation and movement
Adaptation of movement/choreography to the medium/camera
Are affordances shaping the choreography & affecting the choice of shots?
Is it challenging the use of the camera?
Choice of shots and Angles
Handheld / locked off, Dogmatic / Cinematic Experimental / Traditional
Quality of shoot HD / DVPAL
Lighting design
Composition of the shots - adaptation of movement/choreography to the medium/camera
How is the environment used?
Is it shaping the composition of the shots?
Edit / Post production
De-Interlaced/ Compressed
The edit: cuts, rhythm, pace, timing, movement through the shots
Linear or Vertical Montage – fragmented/multi-threading/looping narratives Repetition in edit: predictable and/or unpredictable
PATTERNS OF PREDICTABILITY & UNPREDICTABILITY THAT
MAY BECOME BOTH PREDICTABLE & UNPREDICTABLE
Special Effects
Poetic amplification
Text - spoken/sub-titles/text
Sounds – Diegetic or no sound from set? Music - composed or not?
- AESTHETICS
General “look and feel”
The world of the narrative and character – clearly defined?
The visual form of the narrative clearly defined?
Design Fabrication?
Structuring and manipulation of the design
Location or set and use of it
Costume
Props
- CONTROL
All documents signed, scanned and submitted on time. Not doing so means disqualification.
