The web-based "Synchronous Objects" launches tomorrow at Ohio State University. I just wrote the following introductory post about this project on Great Dance:"William Forsythe's "Synchronous Objects" at OSU Tomorrow"The purpose of this investigation is to develop new approaches to visualizing the underlying structures of a dance--in this instance, Forsythe's "One Flat Thing, reproduced."I'll be writing more about Synchronous Objects once it's up on the OSU website.Best,Doug FoxGreat DanceRead more…
I have been reading about the connection and relationship of contemporary dance and pop music development and style history and how they feed of each other. A main figure in it is Michael Jackson who was invited at the age of 13 to teach Fred Astaire the Moonwalk.Jackson is a very impressive mover which is distilled into this clip!https://www.youtube.com/watch?v=qTfTcoXlVvQRead more…
See the clip from DV8's classic screen adaptation. Please add your comments as to the content, the direction of it, and its impact, whether emotional or physical, on you.
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Over the next two years, DanceDigital will be hosting a series of symposia exploring current trendsin Dance & Technology. The symposia will include contributions from eminent practitioners in thefield of dance and technology, dance artists and companies, venues and promoters.We will be exploring a variety of themes and provocations around the Dance & Technology theme.Our first symposium will be looking at the future of Dance & Technology,where it is going and what the future will hold. Contributors will include Kit Monkman (KMA),a Futurologist and a lecturer from a leading Arts and Technology University Course.There will be the opportunity to ask questions, discuss your own work and gain insight into thefuture possibilities and technologies for dance and the arts.To book your place on this FREE symposiumcall or email DanceDigital:»»call us: 01245 346036»»send a mail: bookings@DanceDigital.org.uk»»or download a form from our website: www.DanceDigital.org.uk
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by
MARLON BARRIOS SOLANO
dance-tech.net/ dance-tech TV/ dance-tech interviews
Friday March 27th 09
Lecture for Arts, Media and Engineering
Arizona State University
Barrios Solano introduces dance-tech.net and dance-techTV as a sustainable model of production and exchange of knowledge within a community of movement and mew media artits, theorists, technologists and organizations. The new internet or Web 2.0 architectures helps us to see Networks as the materialization of social dynamics, as sites of action, translocal presence and social innovation and sampling. They have become the most important emergent repositories of social and cognitive capital of a given community. dance-tech.net registers conversations, dialogues, performances, ideas and lives using the WWW as a site for a relational intervention on the boundaries of bodies, countries, disciplines and organizations.
TRACES:
BATESONQUESTION?
WHAT IS A HAND?
QUESTIONS
COMPOSITION/BODY/EMBODIMENT/COGNITION/REAL-TIME/SYSTEMS/DESIGN/INETERACTIONS/DISTRIBUTED/ECOLOGICAL/NETWORK
EMERGENCE
BOTTOM-UP
DANCE AND TECHNOLOGY 2.0
FROM A LIST SERV TO A SOCIAL NETWORK
DANCE-TECH.NET
FROM DANCE AND TECHNOLOGY TO DANCE TO MOVEMENT TO MOTION
INTERNATIONAL/TRANSLOCAL
TRANSDISCIPLINARY
GROUNDED ON THE DYNAMICS OF PEOPLE AND ORGANIZATIONS:
KNOWLEDGE SHARING STRATEGIES/SHARING ALL RESOURCES.
COLLABORATIONS, PARTNERSHIPS AND BARTERING:
INDIVIDUALS
VENUES
DTW, Eyebeam, Dance New Amsterdam, STEIM, Hellerau, THE WAAG)
HARDWARE: LEMURPLEX/MIDITRON
SOFTWARE: CYCLING74/ OPENFRAMEWOKS
TANGIBLE BENEFITS??
UNDER REPRESENTED GROUPS: RED SUDAMERICANA DE DANZA/
OPEN KNOWLEDGE
INNOVATION???
HOW WE IDENTIFY IT
SUPPORT IT
META-FRAME-IT
KNOWLEDGE BACKBONE/ENGAGEMENT:
MODELING SUSTAINABLE PRODUCTION...YES YOU CAN...
DONATION SYSTEM
RELEVANCE DANCE IS RELEVANT
AS KNOWLEDGE AND AS A SUBJECT
ETHNOGRAPHY/ BOTTOM-UP
INTERVIEWS:
RESEARCH...
MARKERS
PROCESSPPROCESSPROCESS....GIDEON OBARZANEK
IVANA MULLER
BEBE MILLER
LISA NELSONALVA NOEIVANA MULLER
SUSAN KOZEL
ANDREW SCHNEIDERJOSEPHINE DORADOANGELO VERMEULENSABINE SEYMOURTRISTAN PERICH
SYNDICATION/ VIRAL DISTRIBUTION
PARTICIPATORY CREATION OF KNOWLEDGE:
COMMUNITY OF PRACTICE
share know-how, the production effort and the product
loose network of correspondents
SAMPLING THE WAYS
INTERVIEWS/NEWS REPORTAGE
OPEN CLASSROOMS:
Wesleyan University (lectures and access)
University of Utah (skype talks)
dialogue with the community/experts and novices
SIBLING NETWORKSMETA-NETWORK
MOVIMIENTO.ORG (SPANISH AND PORTUGUESE)
DBM
PARTICIPATION MAKES THE SITE
DISTRIBUTED-UP
CONVERSATIONS/DIALOGUE
JUXTAPOSITION
REACTION/INTENSITIES/RHYTHMS/SPEED/FLEXIBILITY
EVERYTHING NEXT TO EVERYTHING
DANCE-TECHTV/ Mogulus platform
COLLABORATIVE BROADCASTING/LINEAR...BROADCASTING...VIDEO ON DEMAND
MAIN CHANNEL CURATED
LIVE:Turkey, London, Venezuela, Switzerland, NYC.
Content donated by more than forty artist: all continents
Academia and independent broadcasters
ASSOCIATE PRODUCERS (any member of the networks)
AND NETWORK OF CHANNELS FOR LIVE BROADCASTING/LECTURES, PERFORMANCES, art projects (Movement Research Festival and Broadcasting station/workshops GRID LAB/Lebanon, France and Geneva)
Collaborative Creativity/Kaltura
Motionplex.org
Collaborative On-line video editing/In development Fall 2009
Collaborative creativity/in development
NEW WWW AFFORDS:
PRODUCTION OF SPACES FOR KNOWLEDGE GENERATION AND OPEN ACCESS
INTERVENTION OF THE INTERNET WITH KNOWLEDGE NETWORKS
LEAN FORWARD
CREATIVE ENGAGEMENT AS EXCHANGE
DIY
DIWO
RESEARCH WITHIN THE COMPANIES
COMMUNICATION IS NOT A BOND
THE BOND ID CREATED BY DOING IT TOGETHER
Planning for
COGNITIVE CAPITAL=
implementation real time communications, relational archiving of knowledge, possibilities of active engagement.
PLASTICITY/readiness for change and assimilation of experiences/learning
DISTRIBUTED
SELF-ORGANIZING
SOCIAL
COMMUNITIES=COMMONS=ECOLOGICAL
CONTESTING BOUNDARIES:
BODIES, DANCE, DISCIPLINES, MINDS, INFORMATION, KNOWLEDGE, ORGANIZATIONS, COUNTRIES, MACHINES, LEARNING
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“Dance Camera Istanbul 2009”II. International Dance Film FestivalCALL FOR SUBMISSIONS:The “Dance Camera Istanbul” 2nd International Dance Film Festival will be held in Istanbul, Turkey in between October 15th and November 15th 2009, focusing on video dance, dance on camera, dance photography and dance film screenings. Dance for camera is a collaborative fusion art form of choreography and filmmaking. “Dance Camera Istanbul” annually showcases international dance films, camera re-works and experimental movement-based films by contemporary video artists and choreographers from the student to professional level. There is no restriction on the subject.The festival supports films which investigate the ongoing search for movement and spaces, both in and out of bodies.The aim of the festival is to build a community for both dancers and filmmakers to come together, to present and promote both local and cutting edge international works, to share ideas, and to provide a collaborative experience for dancers and filmmakers as they work together to produce the final product.“Dance Camera Istanbul” also focuses on increasing attention and awareness of the collaborations between dance, film, visual arts and music as well as the different mediums and forms of dance. The goals of “Dance Camera Istanbul” are to offer a proper venue in which to screen and share the works, to encourage and educate student dance filmmakers, to spread the knowledge of dance for camera, and to deepen the understanding of Turkish and international dance film practices through panels, practical workshops, discussions and screenings.We are seeking enthusiastic individuals and groups who are strongly focused (or want to focus) on dance for camera work, video or multimedia installation collaborations. Examples include video dance, dance documentary, adaptation of a stage work or site specific creation, any kind of artistic and experimental work with kinesthetic energy and rhythmic design, and choreographic works that are created specifically for the lens of the camera and include a well- planned editing process. We invite you to be part of the “Dance Camera Istanbul Festival” family. Accepted works will be screened in various venues in Istanbul and throughout Turkey. In attendance will be Turkish and international dancers, filmmakers, musicians, photographers, artists and students, as well as both national and international audiences. During the festival, we will organize discussions between the artists, filmmakers and audience after the screenings.Dance Film Workshops and Lectures/PanelsThe workshops will be directed by acclaimed national and international dance and video artists, filmmakers and choreographers who will introduce different approaches to camera, dance and movement as well as providing information about video dance history, archives and links for further research. The workshops will take place at several dance studios and stages as well as access to indoor and outdoor spaces for filming. During the festival month, there will be national and international lectures serious on the dance camera work and the related fields. If you are interested in honoring us with your presence and lecture, please contact with us in regards to your possible topic. It would be our pleasure to start and organize a growing artistic environment and relationship.Partners and Sponsors“Dance Camera Istanbul” collaborates with several cultural institutions for visual artists, choreographers, performers and with many other highly appreciated contributors. Also we are delighted to partner with DFA (Dance Films Association) as touring partnership. Our sponsors and partners will be announced in the near future.SubmissionTo submit your work into the Dance Camera Istanbul Festival, please visit our website and fill the application-entry form. We will need 4 DVDs preferably in PAL format. The deadline is July 15th, 2009.By submitting your work you agree to give the rights to “Dance Camera Istanbul” to screen your work and archive it for the anticipated festival library.Please fill the online entry form our website. You may submit your film to the address below:Aylin KalemSantralistanbulE4 - 306Eski Silahtarağa Elektrik SantralıSilahtarağa Mah. Kazım Karabekir cad. No:1Eyüp - İstanbul Turkey 34060Please do not hesitate to contact us for further information and sponsorship opportunities.We are looking forward to welcome you all...Thank you!Dance Camera Istanbul Festival DirectorOnur Topal – Sümeronur.topalsumer@dancecamera-istanbul.orgwww.dancecamera-istanbul.blogspot.comwww.dancecamera-istanbul.orghttp://www.facebook.com/group.php?gid=44764578661
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I just wrote post on Great Dance:"Choreographing Gesture Controls for Interactive Devices"I'd be very interested in what dance notators, movement analysts, choreographers and dancers think about creating movement vocabularies for controlling the latest generation of gesture-based computer interfaces and devices.Best,DougGreat DanceRead more…
I always think in terms of video editing to create something that is a heightened reality because I have to squeeze real experience of movements and moments (space, soundscape, smells, 3D surround view) into a compressed framed 2D format.However, I want to keep my screendance close to life in its own movements because it is so close to our own bodily experience. No other form of editing or creation of video is so interested in how we actually physically feel about it. It is concerned and cares about the viewer, aims to translate to the audience the personal intimate experience of the dancer, dance and the spectators themselves. Video is also able to show and point out moments that we cannot see live but that are still there.This notion intrigues me very much but where do I look next...I always keep on looking at us, our human body, the dancer and the dance. However, I undertook a fantastic Butoh class with Lindsay John at Dancebase last week and his philosophy of looking at the world is really inspiring. During class he talked about a falling leaf he saw that landed over there and not over here and he wondered why it make this decision. Personally, I probably live 80% of my awake time in front of a screen, 10% training and the rest...not as much in my garden or just looking at nature as I wish.It relaxes me looking at my pets: my cockatiel does an incredible move where she brings her claw from behind her wing to the top of her head. My frog reminds me of our very basic, primal motions. In fact, my video about them is my most viewed clip on youtube!Shaky Froghttps://www.youtube.com/watch?v=YYhii81IUhMBut back to my train of thoughts on changing my perception on things. It is not enough to look at movements of nature but how does it feel and why. Referring to Janine Benyus in her presentation on "12 sustainable design ideas from nature": looking at a shell is not just pretty but ask why is it that way and the answer is: it is comfortable housing!https://www.youtube.com/watch?v=n77BfxnVlycOk, where I am going from here...I do not know but I like my starting point and happy to receive any feedback and comments about it. I am widening my horizon on not merely how does dance feel to us but how does nature feel about its patterns, structures and decisions. I expect the answers to be very pure, well reasoned and plausible but still intriguing and maybe even challenging.Wishes,Sabine Klaus Creation Editorhttp://creationeditor.co.uk/
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Are you thinking of buying a new camcorder but you are on a budget? I recently wrote a review about my Canon HV20 for http://smiley-plus.com/ :Canon HV20 is a wonderful small camcorder that suits every filmmaker's budget, however, not necessarily the ones with big hands. As a woman I was looking for the perfect and professional camcorder that has all the settings on manual option as well as one that I can hold comfortably. I do not want to point on certain other cameras that do not have the shoulder option like the Canon XL1 but that are still head-heavy and literally impossible to be handled by anyone with tiny hands. And I found HV20, with 1.2lbs (without battery) it is light on your hands even if you attach the extra accessories like the wide angle lens and the microphone that both turn this little home video cam into your pro movie shooter. It is very attractive for women with its small dials and buttons, especially the zoom adjuster but I found it impossible to be used by a man. So ladies, it is your machine, do not give it to your man!Here are some standard information: HV20 records in HDV and SD DV onto miniDV tape and 10 times optical zoom but there is the option to attach a tele lens. The instant focus works very well but for the manual way there are the assistant functions of magnifying and peaking to get it all perfect. However, this camcorder is most famous for its native 25p in PAL mode which does not require any pulldown removal techniques making it so easy to work with in post!Some people say that HV20 does not work well in low lighting conditions, however, my first shoot I did with HV20 was at sun set and then in a dark forest using only a torch. HV20 handled the situation fantastically and you can watch it for yourself in my video TRENCH featuring the dancers Anthony Missen and Kevin Turner:https://www.youtube.com/watch?v=PciUp7-GsuoTo sum up, HV20 is a camcorder I would buy again!More indepth and useful information can be found on the HV20 dedicated website:http://www.hv20.com/Hope you enjoyed the review!written by Sabine Klaus Creation Editorhttp://creationeditor.co.uk/
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Hello,We are looking for people to test "Rehearsal Assistant", an application for the Android mobile phone platform that is intended to help with the rehearsal process. Rehearsal Assistant is now available through the Android Market so you can download it directly to your phone.Here is a description of Rehearsal Assistant:Rehearsal Assistant for the Android mobile phone platform allows you to record your thoughts and observations during an event, and to review and email the recordings afterward. If you are a choreographer or director watching a rehearsal of your work, this can help you make note of the feedback you want to share with the cast. If you are a researcher in the field or observing an experiment, this can help you record events of interest. If you are a musician or writer, it can help you record and remember your spontaneous moments of inspiration.If you have an Android phone (T-mobile G1 phone / "Google-phone"), please consider downloading this application and giving it a try. Any and all feedback would be much appreciated!
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Doug Fox writes about the interesting work Ursula Endlicher':
In 2006, I wrote about Ursula Endlicher's multimedia and performance installation "Website Impersonations: The Amazons," in which she generated choreography based on HTML tags.
Endlicher continues to generate choreography from underlying webcode and explores new approaches to encouraging visitors to participate in this creative process.
Last December, Endlicher and her dancers performed "The Ten Most Visited #6 - www.wikipedia.org" at the LabFactory in Vienna. You can learn about this installation in which movement phrases were generated from Wikipedia HTML tags. And I grabbed screen shots of her video of this December performance to show how the installation was configured.
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I've been looking at William Kentridge's work a lot lately and had the opportunity to see an exhibit of his work at SFMoma yesterday. I was blown away by how intricately he treads the line between over stimulation and a delicate and subtle emotionality. His multi-media oeuvre also tends to include a great deal of choreography. Although the exhibition blurb coined Kentridge as someone who looks at painting, drawing, film etc, they didn't notice the implicit gesture toward choreography that accompanies his work. I found both historical reference and robotic work. This is aside from the plethora of projections that are necessary to convey Kentridge's message about South African politics and more.
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Great essay and Video interviews by one of the most prolific Canadians Researchers on electronic art.
The canon of visual art is always a site of resistance for artists who have been excluded from it. It is in flux, it is contestable, and it is inevitable. My intention for this research project has been to reconstruct the history of Canadian new media art through an assemblage of pioneering works produced by artists working across the disciplines of art, science, and technology. Canada’s important contribution to the history of this genre has not been recognized by its art historians, curators, or collectors. While this is not intended to be a comprehensive list, the artworks described herein have been significant in establishing Canadian artists as pioneers of new media art. The anti-canonical and anti-institutional nature of electronic media art raises the question: Why propose a canon of electronic media art at all? If canons are inevitable and created through “official” channels such as academic scholarship, curated exhibitions, and museum collections, and if there are no attempts made to reconstruct the excluded history, then electronic media will suffer the same consequences that others excluded from the canon, such as women, have experienced.
Go to the original site
Interviews:
Virtual Residency Project
*Location One Virtual Residency Project
Call for Submissions
Application Deadline: midnight, April 15, 2009
Dates of Residency: May 15-August 15, 2009
Theme: "Levels of Undo"*
*Invitation to Participate*
Call for submissions for Location One's “Virtual Residency Project 2.0".
Please send your URL or submit electronic materials to
virtualresidency@location1.org .
for more information see: *http://location1.org/virtual-residency-project*
Location One presents its second Virtual Residency Project in the form
of a call to artists and other creative individuals with the purpose of
fostering collaboration and creativity across geographical expanses and
areas of expertise. The goal of this residency is to find two
participants who are not physically proximate but who are willing to
work with someone they've most likely never met before using some form
of non-F2F (face to face) interface such as webcams, email, chat, video,
blogs, telerobotic prostheses, Second Life, MIDI, skype, social
networks, walkie-talkie, snail mail, mental telepathy, radio, networked
video gaming, POTS (plain old telephone service), tin cans on string, or
any other means of collaboration to develop a project that will be
presented at Location One in the Fall of 2009, either on our web space
or in our exhibition space. The theme of this project is "Levels of Undo".
The two participants will also use a blog set up expressly for the
Virtual Residency Project to discuss ideas, possible projects and to
track the progress of the work. The conversation will be public and open
for public comments and will be considered an intrinsic part of the
Virtual Residency.
International applicants are encouraged to apply but knowledge of
English (to communicate with Location One's Virtual Residency liason) is
necessary. The theme can be interpreted as broadly or as literally as
the participants would like, the project will be developed
collaboratively by the two individuals chosen for this residency
project, in conversation with a curatorial advisor at Location One (to
ensure the feasibility of the project and help with practical and
technical questions, not to influence or reject project ideas).
*VRP FAQ*
*What are acceptable forms of submission?*
A website that includes CV and work samples is preferable, but you can
also email electronic materials to virtualresidency@location1.org
by the deadline, April 15, 2009.
Please include a few lines describing why you are interested in a
collaborative virtual residency such as this.
*Who can apply?*
Anyone who thinks the idea of working publicly with a total stranger
about whose selection you have absolutely no say on a theme that is
imposed on you is exciting rather than scary.
*If I applied for the last VRP can I reapply? *
Absolutely, we had many exciting and qualified applicants for the first
residency but we chose the three we thought would make a good team.
*Should I send a project proposal?*
No, project proposals are not necessary, but a few lines describing why
you are interested in this sort of collaboration would be helpful.
*What kind of work should it be?*
The project will be developed wholly by the participants. Location One
will provide curatorial and technical assistance, but the final work
will be created “offsite” or online.The final work may, however, have a
physical manifestation--this will be developed with Location One's
curatorial advisor. Online performance, remote music jam, streaming
video, blogs, flash animations, radio transmissions, podcasts, Second
Life theatre, iChat panel discussions, remote-controlled MIDI robot
kittens acting out the news are all examples of acceptable forms that
the project may take. We are leaving the parameters intentionally broad
in the hopes that it will elicit deeply creative responses to this topic.
*Will there be an exhibition? *
Depending on the nature of the work and the availability of the
exhibition space at Location One, an exhibition is possible. The first
Virtual Residency Project was on exhibit in our gallery space from
September 10-November 15, 2008.
*Is there a stipend for the selected artists? *
Not yet, but we are working on it!
*Why do you call it a "residency" if there is no "place of residence"? *
(nasally falsetto): “Why do you call it a ‘residency’ if there is no
‘place of residence’?”. Come on, aren’t we past that? Isn’t the
“placeness” of cyberspace made real by the presence of a community? Free
your mind.
*What if I do not like my collaborator? *
You should have thought of that before you agreed to all of this.
*Virtual Residency Project*
The first Virtual Residency Project featured three artists from three
different countries: Andy Deck (New York, USA), Susanne Berkenheger
(Berlin, Germany), and Hidenori Watanave (Tokyo, Japan). They
communicated via blog and email and collaborated on an exhibition at
Location One in the Fall of 2008. Titled "Mission Accomplished", it
featured works by each of the artists that can be seen on our website:
http://location1.org/missionaccomplished. The first Virtual Residency
Project was an experiment in virtual collaboration that was meant to
work out the kinks so that the second would run more smoothly. We have not.
*For more information see:
http://www.location1.org/virtual-residency-project
* or contact
Heather Wagner heather@location1.org
26 Greene Street (between Grand and Canal St)
New York NY 10013 - tel. 212.334.3347
Subway: Canal Street stop on N,R,Q,W - 6 - A,C,E
*http://location1.org
*
*LOCATION ONE*
Based in the Soho arts district of New York, Location One is an
independent, non-profit organization dedicated to fostering new forms of
creative expression and cultural exchange through exhibitions,
residencies, performances, public lectures and workshops. Traditionally
focused on technological experimentation and new media, Location One's
residencies and programs have favored social and political discourse and
dialogue, and acted as a catalyst for collaborations. With a unique
environment providing individualized training, support, and guidance to
each artist, as well as exposure for their creations and collaborations,
Location One continues to nurture the spirit of experimentation that it
considers the cornerstone of its mission.
*###*
*MEMBERSHIP**
*Support Location One by joining as a member and get access to special
artist events, performance tickets and fun.
http://location1.org/membership/
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Posted by Gilles Jobin on March 14, 2009 at 12:00am
MASTER IN PERFORMING ARTS PRACTICES AND VISUAL CULTUREMASTER EN PRÁCTICAS ESCENICAS Y CULTURA VISUALcontact:pedrosarmiento@telefonica.netdanza@cenah.es2009.02.09. Master in performing arts practices.doc2009.02.23. Master en práctica escénica y cultura visual.docWe propose this programme affirming the value of the arts practices as research processes. The inclusion of art education in the higher education system in Europe implies the recognition of arts as disciplines which generate knowledge. The objective of this program is to open research spaces for artists, theoreticians and pedagogues, creating an autonomous field of work and research methodologies adequate to the performing arts specificity.The search of specifity is not in conflict with the inscription of these practices in the broader realm of visual (or audiovisual) culture. This inscription justifies the catalogue of theory courses and laboratories as well as the criteria to determine priorities in the complementary workshops. It is our intention to propose a concept of performing practice in dialogue with other dominant forms of communication in the contemporary culture: that’s why we emphasize audiovisual and digital tools. But we also assume the impossibility of separating the artistic practice from other social and discursive practices: that’s why we are interested in cultural studies, community arts and self management projects.The programme will begin with a Research Seminar, which will allow self-evaluation, the submission of previous experiences, definition of training projects etc. Modules coordinators and some of the artists responsible for the laboratories will be present in this seminar.There are three sections:1. Theory and history2. Workshops and tools3. ProjectsThe three sections will run in parallel. Sections 1. and 2. more intensively during the first semester. Section 3. more intensively during second semester.The options in the interior of each section will allow the development of three itineraries:A. Performing arts practice and audiovisual mediaB. Community arts and performing arts pedagogyC. Research in performing artsThe dominant methodology in the first module will be lectures, seminars and discussions. It will provide an extensive overview of the theory and history of the performing arts, as well as an introduction to the current approaches to education, community arts, cultural studies and studies on visual culture.Module 2 is designed to supply tools for the artistic practice as research. All participants should master the basics for networking and the use of audiovisual recording and editing.Module 3 is designed as a space for the development of individual or collective research-artistico pracaticeParticipants wishing to develop creative processes can register in one of the laboratories offered. These laboratories, coordinated by an artist, will be developed throughout the course, with three points of intensive activity in each quarter. Labs will provide a framework for the development of personal projects or for joint work in collaboration, which will be continued when completing the final project of the Masters degree. Artists in charge of Laboratories may invite other experts or artists in accordance with projects proposed or designed by participants.Those participants wishing to develop a theoretical project can follow the permanent research seminar. This seminar will be coordinated by a professor at the Masters degree and it will developed throughout the course, with two points of intense activity in the second and third quarter, which may coincide with the completion of some type of event (conference, seminar with external guests, exchanges with other programs, etc.). Specialized teachers in the areas of interest identified by participants during the first seminar will be invited to this seminar.Total Credits in the catalogue 81 ECTSAt least each student must get: 60 ECTSRESEARCH SEMINARY 1: 3 3José A. Sánchez, Pilar Lacasa, Isabel de NaveránBojana Kunst, Óscar Cornago, Amparo ÉcijaSECTION 1: THEORY AND HISTORY 21 12History of the contemporary performing arts 4,5 (Obl)José A. Sánchez (UCLM), Óscar Cornago (CSIC)Ángel Abuin (USC), Amparo Écija (UCLM)Theories of the body 3 (A, B y C)Marina Garcés (UZ), Christine Greiner (PUC Sao Paolo)Critical approach to the contemporary art practice 3 (A, B and C)Lectures program in collaboration with MNCARS–UAM.Theories and debates on gender, identity and visual culture 4,5 (B and C)In collaboration with UAM-MNCARSJesús Carrillo (UAM), Julio Seoane (UAH)Landry Wilfrid Miampika (UAH), Mercedes Bengoechea (UAH)Gabriel Villota (EH/UPV), Pedro G. Romero (UNIA)Tendences of contemporary aesthetic thought 3 (C)Lectures program in collaboration with MNCARS-UAMSECTION 2: RESEARCH TOOLS 24 12Workshop 1: Body Technics 3 (A y B)Eva López-Crevillén (CSD, Madrid)Muriel Romero (dancer, Madrid),Workshop 2: Audiovisual and digital tools 6 (Obl.)Ingrid Wildi (visual artist,Geneve), Guillermo Navarro (UCLM)José M. Lozano (UAH, Alcalá), Jesús Dominguez (video artist, León)Workshop 3. Performance practice 3 (A y B)Óskar Gómez Mata (theatre director, Geneve)Juan Loriente (actor, Madrid)Performance space: sound and architecture 3 (A y B)Fernando Quesada (architect, Madrid)Pablo Palacio (musician, Madrid)Projects Self Management 3 (A, B y C)Marta Oliveres (artists manager, Barcelona)Paz Santa Cecilia (director of Escena Contemporanea)Pablo Berastegui (director of Matadero, Madrid)Pedagogy of arts 3 (B y C)Pilar Lacasa (Pedagogy Professor, UAH)Eugene van Erven (Univ. De Utrecht)Pedro Sarmiento (musician, UAH)Arts and disability 3 (B)Patricia Ruz (theatre director, Madrid), Mercedes Pacheco (CSD, Madrid)SECTION 3: PROJECTS 36 24Lab 1 (choreography and visual arts) 6 (A)Maria Ribot, coreógrafa – GinebraAmparo Écija (UCLM)Lab 2 (theatre and community arts) 6 (B)Rolf Abderhalden, theatre director, BogotáPilar Lacasa (UAH)Research seminar 2 6 (C)José A. Sánchez (UCLM), Isabel de Naverán (UPV)Bojana Cvejic (writer and professor, Zagreb),Jaime Conde-Salazar (dance critic, Madrid)Individual Project 18 (Obl)Research lines:A. Art practice and research: María Ribot / Isabel de NaveránB. Community Arts: Pilar Lacasa / Patricia Ruz / Pedro SarmientoC. History, theory and critic: José A. Sánchez / Óscar Cornago / Amparo ÉcijaPROGRAMA. OBLIGATORYTitle ECTS Brief descripciónTotal Theory PracticeResearch Seminar 3 1 2 Self-evaluation of the participants in the Masters, valuation of personal trajectories.Exposure of learning methodologies and applied research throughout the program.Definition and discussion of the concept "artistic research process”Historiography and criticism of the contemporary performing arts: analysis and models 4,5 3,4 1,1 Historiographic proposals for the study of the contemporary performing arts. Study of the history of the performing arts practice since the sixties. Theatricality and performativity. Transdisciplin. Regional histories and times of history. Body and visuality. Scene and technology.Trends of contemporary European and non European performance practice.Methodologies for analyzing the event stage.Criticism practiceWorkshop: audiovisual and digital tools 6 0,8 5,2 Introduction to audiovisual language: script, recording, editing. Shooting practices applied to the performance: documentary recording, closed circuits, editing for the performance.Introduction to Internet resources 2.0. Tools for development of creative work in Web and for using the web as an extension of the performance practiceInteractive program proposals for work on stage.Personal project 18 18 Development of a research project in one of the proponed lines: artistic practice, community arts or critical research.It will be an original work, combining practice and theory.B. OPTATIVESTitle ECTS Brief descriptionTotal Theory PracticeTheories of the body 3 2,2 0,8 Multidisciplinary approach to the body as an object of study in contemporary culture as well as a discursive place. Introduction to the theories of philosophy, anthropology, psychoanalysis, science, semiotics, etc...Critical approach to the contemporary performaning practices 3 3 0 State of the theories about the performing arts, exposure of the main methodological approaches, description of facilities and current research groups, analysis of concepts.Models of application of theory to understanding the contemporary sceneTendences of contemporary aesthetic thought 3 3 0 Series of lectures by artists, critics and professors of universities scheduled by the Reina Sofia National Museum and the Master of Visual Culture at the Autonomous University of Madrid.Theories and debates on gender, identity and visual culture 4,5 4 0,5Introduction to the concept of cultural studies. Introduction to gender studies. Introduction to postcolonial Studies.Introduction to the concept of visual culture and exposure of the main approaches to visual studies.Presentation of research projects that apply methodologies of visual studies. Application of this methodologies to the analysis of performing arts projects.Workshop 1: Body Tecnics. 3 0,3 2,7 Learning and training of body tecnics used in dance and theatre work.Discussion about methodologies and aesthetic implications of each of the techniques.Outline of artistic projects after the technical work.Workshop 3: Performance practice 3 0,4 2,6 Performance practice: the actor as Performer, the actor as an artist.Performance space: sound and architecture 3 0,8 2,2 Introduction to the concepts of space in the contemporary scene. The physical space: flows, mobility, energy. Body and architecture. Building the space through sound, movement and presence.Projects self management 3 1,2 1,8 Management of artistic projects: making a project, business issues, relation to administration, funding, visibility, organization.Management of cultural projects, the institutions point of view: cultural venues, festivals, etc..Arts education 3 1,4 1,6 Examples of new educational proposals for artistic practice in the international environment. Pedagogical models adapted to social change: participatory pedagogy, social responsibility, cultural mediation, projects methodology, and so on. Project planning and participation in innovative educational projects concerned.Arts and disability 3 1,4 1,6 Workshop dedicated to the exhibition of art work methodologies with disabled and non-disabled persons. Exposure of concrete experiences on the part of artists. Projects working in relation to the disabled.Lab 1 6 1,4 4,6 Approach to a conceptual framework for the development of an artistic individual or collective work. Led by a one-artist of international renown, will consist of three intensive working sessions, one each quarter, allowing the monitoring of projects in every phase.Lab 2 6 1 5 This lab will take the same approach as above, but will focus on community art practice and will present a project related to a specific group.In the context of the laboratory it will be address the issue of artistic practice as a tool for social transformation. Presentation of reference projects and discussion about its relationship with social, cultural and educational.Seminario de investigación 2 6 1,8 4,2 Academic research methodologies applied to the arts. Artistic methodologies conceived as research processes.Treatment of theoretical and methodological issues related specifically to the concerns raised by participants during Workshop 1 as well as the needs of the individual projects. It includes the organization of workshops, conferences, meetings with artists or with participants in other partners masters programs.Collaboration and exchangesCredits may be validated by following courses or seminars in other programs.Among the institutions that have already expressed interest in collaboration are:1. Casa Encendida, Madrid.2. Festival Escena Contemporánea, Madrid3. Conservatorio Superior de Danza, Madrid4. Museo Nacional Centro de Arte Reina Sofía, Madrid5. Compañía Nacional de Danza6. Redescena (Red de Teatros Públicos de España)7. Matadero, Madrid8. Fundación ONCE, Madrid9. Mecat de les Flors, Barcelona.10. Centro Coreográfico Gallego, A Coruña.
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Call For papers
Special Issue on: "Creativity and Interdisciplinarity – a Discursive Tension?"
Guest Editors:
Dr Sophia Lycouris, Edinburgh College of Art, UK
Dr Mark Wright, University of Edinburgh, UK
on behalf of Research Group CIRCLE (www.eca.ac.uk/circle)
CIRCLE is a group of artists/researchers engaged in Creative Interdisciplinary Research into Collaborative Environments. Its members are staff and research students at Edinburgh College of Art and the University of Edinburgh and include Prof. Simon Biggs, Mariza Dima, Henrik Ekeus, Sue Hawksley, Beverley Hood, Dr. John Lee, Dr. Sophia Lycouris, Vangelis Lympouridis, Ann Marie Shilito, Dr. Chris Speed, Wendy Timmons, Dr. Penny Travlou and Dr. Mark Wright.
For further information about the call, please visit: http://www.inderscience.com/browse/callpaper.php?callID=1159
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We are looking for people to test "Rehearsal Assistant", an application for the Android mobile phone platform that is intended to help with the rehearsal process. Rehearsal Assistant is now available through the Android Market so you can download it directly to your phone.Here is a description of Rehearsal Assistant:Rehearsal Assistant for the Android mobile phone platform allows you to record your thoughts and observations during an event, and to review and email the recordings afterward. If you are a choreographer or director watching a rehearsal of your work, this can help you make note of the feedback you want to share with the cast. If you are a researcher in the field or observing an experiment, this can help you record events of interest. If you are a musician or writer, it can help you record and remember your spontaneous moments of inspiration.If you have an Android phone (T-mobile G1 phone / "Google-phone"), please consider downloading this application and giving it a try. Any and all feedback would be much appreciated!
