Hoy, Día Internacional de la Danza, se presentará online la nueva plataforma virtual mapad2 (http://www.mapad2.ufba.br/) , creada para impulsar la investigación, la formación, el desarrollo y la difusión de creaciones relacionadas con la danza, concretamente los espectáculos de danza interactivos creados a partir de dispositivos tecnológicos digitales.La plataforma, que abarca los países de habla hispana y portuguesa, será presentada con una vídeo-conferencia internacional entre Brasil - Catalunya- Mozambique; los invitados de Catalunya serán Kònic thtr, colectivo artístico especializado en la aplicación de la tecnología interactiva en los proyectos artísticos. La vídeo-conferencia tendrá lugar en el Mercat de les Flors de Barcelona a las 20 horas y cuenta con el apoyo de i2cat y Anella Cultural.Mapad2 (Mapa y Programa de Arte en Danza (y Performance) Digital) es un proyecto desarrollado por el Grupo de Investigación Poética Tecnológica en la Danza, vinculado a la Universidad Federal de Bahía (Brasil).www.mapad2.ufba.br
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I attended last night to the performance of "Far" a very nuanced solo conceived and performed by French Algerian choreographer Rachid Ouramdane presented within the BIPOD Festival: Beirut International Platform of Dance. I felt again that this work traverses the dangerous waters of politically charged broken narratives of our postmodern identities and it makes us see the contradictions embedded in the belief of personal and geopolitical utopias. In this festival encounter I can feel in the region artists the urgency for storytelling, the necessity of explaining, the awkwardness and eccentricity of modern or contemporary dance and entrapment of the transnational distribution systems of DANCE in relation with the local conditions.
There are no answers nor scape, I think.
It is humbling.
The only thing that I have been left with is capacity to understand the multilayered narratives and the tension between the local conditions and the untamed interconnected world.
So, I decided to repost this interview with Rachid done when he premiered FAR in NYC at Dance Theater Workshop. He takes us across his landscape of memories and permeable multiple identities and quests for meaning or just survival.
Entre la danza posmoderna y el performance. El próximo 29 de abril se celebra el Día Mundial de la Danza. Con este motivo presentamos unas reflexiones sobre las nuevas rutas que ha tomado este arte, cada vez más libre de antiguos convencionalismos.
Leer articulo en El Comercio del Peru
Nuevas “ideas y formas que se movían” empezaron a ser recurrentes dentro del trabajo de algunos coreógrafos (as), bailarines (as). Esta nueva forma de trabajar con el movimiento llevaría el nombre de “nouvelle danse” o danza nueva en los años sesenta. Estos trabajos fueron (y son) catalogados como danza conceptual o danza minimal, pero aún estaban considerados dentro de los parámetros de la danza. Después de esto, entre los ochenta y noventa, la danza ingresa a una etapa de “vale todo”, luchas en escena, malabarismo, bailarines que recitan poesía, cuentacuentos, etc., pero todavía dentro de los límites estructurados de la técnica coreográfica y dancística.
Es a mediados de los noventa, cuando algunos coreógrafos (as), bailarines (as) insatisfechos con el trabajo convencional dancístico (ballet clásico, danza moderna, contemporánea y posmoderna) dan un paso más adelante alejándose definitivamente de todo tipo de danza occidental conocida e ingresan de lleno al arte en acción o no acción en muchos casos. Los críticos tradicionales de la danza los acusaron —y los acusan— violentamente, como “traidores del movimiento”, pues no poseían un género definido. En los últimos quince años, artistas como la española La Ribot y el francés Jerome Bel hacen honor a este título.
El crossover
Estas nuevas “ideas y formas que se movían” de los precursores del performance acercaron a los “traidores del movimiento”, como La Ribot y Jerome Bel, a artistas de otros campos, lo que generó un intercambio interdisciplinario. Hoy Marina Abramovic, Ron Athey, Franko B, Bobby Baker, Lucy Baldwyn, Michele Barrett, Romeo Castellucci, Brian Catling, Oron Catts, Julie Clarke, Ricardo Domínguez, Tim Etchells, Jean Fisher, Torced Entertainment, Goat Island, Guillermo Gómes-Pena, Matthew Goulish, Lin Hixson, Amelia Jones, Joe Kelleher, Yu Yeon Kim, Oleg Kulik, Alastair MacLennan, Hayley Newman, Peggy Phelan, La Pocha Nostra, William Pope.L, Andrew Quick, Alan Read, Henry M.Sayre y Stelarc, son solo algunos de los cientos de “varados” que, en su relación con las artes plásticas, el teatro, la danza, la tecnología, han llegado (unos antes, otros después), a orillas de una tierra desconocida llena de posibilidades y han creado una nueva forma de hacer arte, que tiene las siguientes características: a) crear un arte de shock, b) destruir la pretensión, c) Separar la tradición de la representación, d) Poner en primer plano la experimentación, e) captar diferentes posibilidades de dar significados, y f) activar la inclusión de la audiencia.
Así, el arte convencional se quiebra como un enorme huevo de dinosaurio y da vida al “life art” o arte en acción (o no acción).
De Isadora a La Ribot
Desde aproximadamente tres décadas, filósofos y críticos del arte plástico y escénico han tratado de definirlo y ubicarlo en un tiempo y lugar histórico.
Para la curadora e historiadora de arte Rose Lee Goldberg, el performance art tiene una vigencia de cien años, con personajes como el poeta futurista F.T. Marinetti, quien estaba obsesionado con las máquinas de la era moderna (autos de carrera, aviones, locomotoras, etc.). Si para Marinetti el nuevo arte debería ser tan explosivo como el sonido de estas máquinas, para Isadora Duncan, gestora de la danza libre, debería romper con una tradición secular que hacía de la mujer un ser sometido.
Ella se negó a aprender danza clásica porque no aceptaba someterse a reglas estrictas. Liberar al ser humano mediante la danza implica también liberar la danza de todas sus trabas. En primer lugar, de la indumentaria que oculta el cuerpo y da una falsa apariencia de formas y líneas. Isadora se rebeló contra la costumbre de usar mallas y bailar vestida con túnicas ligeras y pies descalzos. Con ella la danza se convierte en objeto de culto. Dota a la expresión corporal de un cierto valor estético aceptado por toda la intelligentsia de su tiempo. Casi un siglo después La Ribot dirá que ya no existe la representación sino solo la presentación. Para ella no hay magia, solamente realidad. No hay sorpresas, solo percepciones que varían. No hay declaraciones, solamente ambigüedad. No hay más estabilidad, solo inestabilidad. No hay más teatralidad, solo plasticidad.
El espacio, carente de jerarquías, le pertenece al espectador y a ella. Y ella no es lo más importante. Algunas veces lo son sus objetos, sus bolsas o casacas; otras veces los comentarios del público y el sonido de sus acciones. Todo y todos están tirados en el piso, en una superficie infinita, donde se mueven, silenciosamente, sin ninguna dirección precisa y sin ningún orden definido. La Ribot no trata de desarrollar un personaje. Es por esta razón que ella trabaja desnuda para descargar su cuerpo de todo drama.
* Bailarina y codirectora de Danza Viva
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boDig is participating to Pixelist Festival with a workshop and performance extract.Workshop: Interactive Play with MovementThis is a movement workshop realized with specially written codes using MaxMSP/Jitter software. It is a design for perception suggestive of the redefinition of time and space. Based on the relations of the physical body with its processed images, the workshop is triggering improvisation and creativity by re-positioning the parameters of space, and transfers virtual movement to actual environment.An interactive dance performance: The Knot Theory (an extract)Knot: Is it a problem that needs to be solved? Or a connector that binds the torn? Can it be both?The only way to bind what only seems bonded in the surface is to cut even deeper. While “The Knot Theory” analyzes the surface and below the surface sides of incidents and relations, it is affected by the mathematical theory of Koningsberg’s Seven Bridges, a surgery, absurd theater, and the probabilities that interactive technologies create. When communication webs that consist of disconnected pieces are connected in different ways can they cause variant outcomes? “The Knot Theory” is a search with body language that goes deep in a well of possibilities.This work has been developed at Absent Interfaces Lab in Tanzquartier Wien (Austria), artist residency at L’animal a l’esquena (Spain) and rehearsals at Performing Arts Track at Istanbul Bilgi University (Turkiye). It has been performed at garajistanbul during boDig 08 Festival and will be performed in May the 3rd 2009 at “Rencontres Chorégraphiques de Carthage” Tunis.Credits:Concept and Choreography: Beliz Demircioglu Cihandide (with Gunes Caglar)Dramaturgy: Aylin KalemSound & Interaction Design: Selcuk ArtutInteraction Design Control: Ahmet GuzererlerSurgery: Ercan Cihandide, M.D. and his teamProduction: boDigOther participants to the festival are:Dash McDonaldKoray TahirogluErdem HelvacıogluSebastian NeitschKoelseKoelseKoelseAndrew Gryf PatersonAndras Sly SzalaiboDig - Aylin KalemboDig - Beliz Demircioglu CihandideErik SandelinÅsa StählAlican AkturkRefik AnadolMustafa Gokhan CiftciOnur SönmezHyper IslandAndreas TreskeEfe Mert KayaAura SeikkulaFor more info:www.pixelist.cc
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Posted by Leon Trimble on April 25, 2009 at 6:17pm
In our last event Digital Dystopia, we showcased a strand of work coordinated by Leon Trimble aka VJ Chromatouch and featuring the combined talents of Leon himself with the music and piano playing of Rich Batsford and choreography from Lisa Natasha Wetton.Hope you enjoy this lovely video:The piece featured two dancers - Julia Griffin and Paris Thomas-Wade performing a very touching and tender routine inspired by a scene in George Lucas seminal debut feature film, THX1138.The dancers motion was tracked via infra-red cameras and the visuals were projected directly onto their bodies. The colours for the visuals were created using a scheme devised by Leon to match the colour spectrum with the aural spectrum with the input coming via a midi connection from Rich’s digital piano.It was a beautiful moment quite late on in the evening and Leon is currently working on another incarnation of the collaboration to perform at the Upstairs at the Cross venue at our new event, Xhibition on May 9th in Moseley.
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The Insylum Center for Genetic Research invites you to witness a controversial experiment that may alter the course of life and humanity as we know it. Three nights only April 23- 25, 2009 The Insylum opens its doors to the public for the unveiling its most recent genetic study Project XXY.“Project XXY” is the collaborative distinction project of graduating seniors Jeff Marras, Jamie Murzynowski, and Yolanda Royster that brings together this exuberant trio’s creative talents in an extraordinary performance. Presented at the Experimental Movement and Media Arts (EMMA) Lab at The Ohio State University’s Advanced Computing Center for Art and Design (ACCAD), “Project XXY” takes a journey into the inner chambers of insanity, a place where vision is blurred, but movement is clear. Feel your pulse quicken as your mind enters the Insylum Center for Genetic Research.Pay close attention for you may catch a glimpse of the future of science hidden behind the walls at the Insylum as three new genetic codes are being closely studied by a team of highly unqualified scientists. With these new DNA structures scientists may finally be able to unlock the secrets of life. XXY is among us, but be careful not to invest too much of your mind in decoding its meaning, for life's secrets can induce feelings of extreme euphoria followed by excessive indulgence...Check out the live web fed tonight April 24 and tomorrow April 25 @ 8pm EST only on http://www.ustream.tv/channel/project-xxy-concertRead more…
Here is the "dancer-sized enclosure" version of the Laban Pure Form (a development of Rudolf Laban's work in Choreutics) by Bedford Interactive's Jim Schofield. The 3D form which was unavailable previously, features unique vertices for each of Laban's 26 directions of orientation.laban@dance-interactive.com
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WSP Film Festival submission deadline extended until May 1st 2009 (postmarked).Do you have a short film? then we want to hear from you!What we need!Your film on either DVD/Mini DVA short synopsisAll credits$10 submission feeEach entrant will get a free ticket to the festivalsend to WSP Film Festival,Orchard House, Askern RdCarcroft DoncasterSouth YorkshireDN6 8DFUK.The festival will screen on May 8th at the Dearne Playhouse, Barnsley. We have 10 places available for submissions.You will receive a confirmation email once you film has been submitted and a further email detailing whether it has been selected.Festivals are a great place to get your work seen by funders, Arts organizations and other artists so don't get left behind during this difficult time.For enquiries email: admin@waynesablesproject.co.ukBest wishes and we look forward to watching your film.WSP .
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NEW INTERNET
Participation makes the site
Asynchronous and synchronous interaction
Community of Practice
process, process, process
Why dance?
Dance and Technologies?
Techne/skill: cognition
Networked knowledge:
LISA NELSON, ALVA NOE AND WILLIAM FORSYTHE
Interdisciplinary performance of motion
Bottom-up approaches? 2.0 = prosumer...lean forward
dance-tech.net
Rich multimedia social network
1200+ international members
>1500 pages views a day.
Knowledge backbone:
dance-tech.net interviews 85+
Sustainable: internet native/skyped
On-LINE VIDEO ALL THE WAY
Dance-techTV and channel network: Collaborative Broadcasting
Partnership with Mogulus
12 channels for members+
Organizations as active members of the community: engaged contributorsTrade of benefits of membership.
Modeling sustainability: if I can do it you can do it.
Self interviews, emergent correspondents, co-producers
Collaborative Creativity:motionplex.org
On line collaborative editing
Partnership with kaltura
Meta-Networks: partnership with movimiento.org/dance-network in Spanish/Portuguese.
Media/communication Research Residencies: TMA Hellerau/ETP, STEIM and Gilles Jobin Company
RELATIONAL INTERVENTION IN THE SYSTEM OF DISTRIBUTION OF KNOWLEDGE
Contesting boundaries: bodies, countries, languages, technologies disciplines and notions of consumer/producer
Intervention in TELE
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I just listened to Rafael Bonachela's interview with Olivia Stewart. Very inspiring!Meet the new artistic director of the Sydney Dance Company: Rafael Bonachela. His first work for the company is a production called 360°. It's on in Brisbane until April 25, and then goes to Adelaide and Melbourne next month. Click on the following to hear the full interview with ABC Radio National's Artworks:http://www.abc.net.au/rn/artworks/stories/2009/2545619.htmAs well as telling us a little of his life's story Rafael tells us about the musical inspiration behind this current production and about We Unfold, which has just been on in Sydney.See why Olivia Stewart from The Courier Mail calls 360° a "sensory assault" and why she believes "Rafael Bonachela looks set to continue SDC's classy aesthetic."Sydney Dance Company inRafael Bonachela's360°Brisbane Apr 17 - 25QTIX 136 246 www.qtix.com.auAdelaide May 6 - 9BASS 131 246 www.bass.net.auMelbourne May 13 - 161300 136 166 www.theartscentre.com.auI hope it is coming to Europe soon!Sabine Klauswww.creationeditor.co.ukDON'T MISS OUT!
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Ariella Vidach – AIEP contemporary dance Company (www.aiep.org) looks for mature, experienced and creative performers with strong dance technique, partnering / contact improvisation ability and creative flair for a major project starting in summer 2009 an premiering in September 09WHENSaturday, may 9th 200912 am / 4 pmWHERESCARABEAUS – ESPACE THEATRALrue Creuse,19-27 1030 BRUXELLES (Belgium)www.scarabaeus.netPROGRAMThe audition is carried out as a laboratory (dance technique, improvisation and choreographic composition).The candidates can present a short composition (max 2 minutes)INFORMATIONPlease send CV via email.INFO AND SUBMISSIONSEmail: info@aiep.org / info@didstudio.org – Tel: +39 2 345 09 96
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GOLEM is a 30 minutes dance performance telling the story of artificial man. It is based on the use of advanced audiovisual technologies such as granular sound synthesis, real-time 3D environments and computer systems for capturing movement. The dancer becomes both on-the-fly choreographer and co-author of the sound composition. Through the dance movements he pilots the sound part as well as influences the virtual projected scenography.
Credits: PAVEL SMETANA (CZ) - artistic director, LUKA PRINCIC (SI) - original electronic music, JURIJ KONJAR (SI) - dancer & musical performer, MICHAL MÁŠA (CZ) - motion capture & 3D, STEPHANE KYLES (FR/USA) - production & light design, ROMAIN SENATORE (FR) & QUENTIN DESTIEU (FR) - video creation, JAN ŠEBEK (CZ) - technical production.
Since the early 1990s Pavel Smetana has been artistically experimenting in the field of digital interactive media, creating installations “The Room of Desires”, “The Mirror”, “ The Cyber-Portrait of Dorian Gray” and “Lilith”. Since 2003 he directed several multimedia performances, interconnecting computer science, contemporary dance and game technologies. During the past ten years he served as a Professor of 3D, VR and Art at the arts academy in Aix-en-Provence, France, and the director of international festival ENTERmultimediale (2000, 2005) and ENTER (2007, 2009) held in Prague. He is director of CIANT, presently involved in brain-computer interface technology research, development and experimentation.
Luka Prinčič (SI) is a musician, sound designer and media artist. He has participated in a number of sound-music and multimedia projects. In addition to publishing web albums, he has been active in Ljudmila and Kiberpipa and is the administrator of skylined.org, an art-server/community. Prinčič is the author of audio-visual and electro-acoustic performances and multimedia actions in physical and mental-emotional spaces (Music for Hard Disks; Retrospections: MayaDeren; Waves in public: Squares). As a sound designer and adviser, he collaborates with artists, activists and producers of festivals and conferences at home and abroad (Eclipse, Neven Korda, Jodi Rose, Borut Savski, Luka Dekleva, Galerija Kapelica, MFRU, Netmage08, EMAF07, Device_art, Moderna galerija…). His work focuses on personally reflective and socially critical use of new technologies within contemporary audio-visual contexts. Most of his work is based on hacker ethics and DIY philosophy. Currently, he is most interested in the intersection of subjectivity, techno-science, net culture, AV-media and sound.
Jurij Konjar (SI) is a contemporary dancer who regularly practices various aspects of the profession. Besides moving and performing continuously, he directs his own work and is involved in other independent creations as a freelance artist. He gives classes and workshops of contemporary dance techniques for professionals, as well as non-professional youth and adults in a frame of various education projects.
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The performance was created, presented, and documented in the framework of IMMEDIATE, CO-ME-DI-A and CASPAR co-production projects and initiatives.
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GPS-driven dance performance
WBNR – What Burns Never Returns is a performance and research project exploring in particular the mediated relationship between the body and the urban environment. It has three main interrelated objects of research and it is developed through a creative dialogue between the relative practices: choreography, urban geography-visual art and communication technologies intertwined in an emergent disciplinary field dealing with the human body, the city and the generative code. In order to analyze these trajectories, Alessandro Carboni has started the research in Asia, were urban transformation are more visible: the region of Guangdong called “the Pearl Delta River” as Hong Kong, Guangzhou, Shenzen and also the regions of Guangxi, Sichuan, Henan,Tibet and the city of Beijing. The journey was focused on the exploration and study of the process of landscape transformation called: “high-speed urbanization” and on the most disarticulated forms of urban density. After the Chinese experience, he has involved in this project, through the creation of Platforms of research in Europe, a wide range of contributors, enriching his basic artistic and technical competencies with such figures as urban researchers, media artists and theorists and software programmers, in order to lead a both a performance production and a theoretical contribution.
The performance presented in Prague, is a development of a performative act between a steady cognitive practice exploring specific urban environments and choreography. On the one hand, the dance oriented practice is an investigation of the human body and its gesture facing the intense, dense and over-stimulated urban environment: a practice of exploration of a performance and choreography methodology, capturing gestures, tics and idiosyncrasy of modern metropolitan life as sign of deeper pressures and thrusts influencing everyday life behavior in public. On the other hand, an inquiry on specific urban environments using spatial assessments, GPS technology, drifts, aimed at developing a context-based knowledge of the densely built environment producing the emergent character of the city of Prague.
WBNR is the second phase of a three-year research project “From quad to zero”. a large crossing media research that includes social, anthropological, mathematical, geographical issues between tradition and heterodoxy. A project concentrated on the study of an original method of choreographic composition on the basis of mathematics and systems theory that the author has developed during years 2006-2008 through different journeys and residences in India, China, Iran and Europe. Each of them represents a geographic movement of the Zero from the east to the West. Following this trajectory in the contemporary east, the travel becomes an original modality of research and creation. A moment of self verification, a moment of re-discussion of our practice in order to construct new paths, new processes of creation and choreographic ideas. Part of the project has been already developed in India in 2006 and China 2007.
Credits: Concept, choreography and interpretation: Alessandro Carboni, Production: OOFFOURO/N.P.A Officina Ouroboros 09, Co-production: Moving_Movimento 08 - Fabbrica Europa - Ente promozione danza, (Italy); Festival Santarcangelo dei Teatri, Santarcangelo, (Italy); Giardino Chiuso / Teatro dei Leggieri, San Gimignano, (Italy); Officina Giovani / Cantieri Culturali ex Macelli, Prato, (Italy); Assessorato alla Cultura e alle Politiche Giovanili del Comune di Prato, (Italy). Support: Guangdong Modern Dance Company and Guangdong Modern Dance Festival; Riccardo Mantelli/NewbleepMediaLab; Festival Contemporanea 08 in collaboration with Guangdong Xinghai Performing Arts Group, China; XtendedLab/Master D3D _NABA - Milan (Italy); Central Saint Martin, University of Art London; LaDU, (Italy)
Alessandro Carboni is a multidisciplinary artist. He divides his practices in the exploration and the study of the body movement and the relation of it to the space. For several years, he has been working on the creation of a method for dance: VCCT, considering the relation with choreography, mathematics, generative code and system theory. Added to this, he is expanding his research coordinating the activities of “LaDU” MultimediaLABoratory of Urban Density” at the University of Architecture in Cagliari. He also teach “Methodology and Performance Practice” at the MA “Scenography for Performance”, Central Saint Martin’s in London; and “Digital Perfomance” at Master of Digital Environment Design at NABA in Milan. He performed in Europe as weel as China and India. He is choreographer and dancer with his group OOFFOURO resident in Sardinia, Italy.
Riccardo Mantelli is an Italian interactive media artist producing both public and private artworks for collectors, institutions and companies. His areas of expertise include: installations design, responsive environment and interaction design, crossmedia design, new media in architecture and public space. In his experimental activity, it manages to mix different languages and areas of expertise, from media communication to design, art and architecture, from Italian design and art tradition to new electronic aesthetics. Honored as the winner of Newstoday® Brand Promotion Contest (NYC) on 2002.
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Armando Menicacci, the director of Mediadanse/Univ. Paris 8 is leading a research project called “Human Gait” in collaboration with boDig (Istanbul) and the Performing Arts Track of Istanbul Bilgi University.To understand the walking parametres is essential for many reasons. In this project, we want to analyse the relative acceleration and deceleration of head-chest-pelvis. With the use of accelerometers, the project is about collecting this data that will be analysed with statistical factor approaches and plotted to verify the hypothesis of existence of few families and groups of walking styles.Dancers and non-dancers in Istanbul participated as test subjects on the 15th and 16th of April 2009 at E4-302 in santralistanbul.
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Bedford Interactive have recently launched some new products on their website and have announced a software toolkit for anyone who uses video of dance in the studio, classroom or other environments. The forthcoming application is called FORMotion and will be adaptable to many different uses including archiving of dance video and all kinds of motion studies, through it's dual screen display system. The great leap forward is the ability to use any of the tools they have developed on any footage the user wishes to use. This could be used to compare footage of the same dance from different camera angles or different dances or anything you want really!The company are currently looking for dance teachers and choreographers who are willing to let them use their video in development work, in exchange for free pre-release copies of the software, with their video already loaded into it.If you would like a better idea of what this software does, you can send off for a free demo of a program called Voctools (a prototype version of FORMotion).Just go to www.dance-interactive.comIf you have any questions please feel free to ask!PS: We have also recently set up a Facebook group and a Blog...Go to BlogGo to FacebookRead more…
Boston, MA — Dance and technology take center stage with “Loops,” an exhibition and performance inspired by Merce Cunningham’s solo dance “Loops.” The exhibition takes place April 24-May 10 at the MIT Museum, 265 Massachusetts Avenue, Cambridge, and the performance, presented by Critical Moves, takes place on the evening of April 24.
The story of “Loops” began in 2001 when artists Paul Kaiser, Shelly Eshkar and Marc Downie created a digital artwork by motion-capturing Merce Cunningham as he performed. The artists developed a sophisticated software program that turned the motion-capture data into a flowing abstract digital portrait; they later added multiple screens and a soundtrack. In 2008, the Cunningham Foundation and the OpenEnded Group (an organization consisting of Kaiser, Eshkar, and Downie) placed all the material online as open source, where it would be available for repurposing by other artists.
Boston Cyberarts, with a grant from the LEF Foundation, commissioned four media artists — Brian Knep, Golan Levin, Casey Reas, and Sosolimited — to utilize the “Loops” material in whatever way they chose to create new works. The results are on display from April 24 through May 10 at the MIT Museum, with an opening reception on April 24 from 5:30 to 7:30 pm. Additionally the works, along with their code, will be online at www.bostoncyberarts.org/loops as open source for use by others.
Also at the MIT Museum, Critical Moves Contemporary Dance Series presents a performance on April 24 by two dancer-choreographers performing works inspired by the “Loops” project. Jonah Bokaer performs “False Start,” an excerpt of his evening length "Three Cases of Amnesia", a technology-influenced solo dance and media work. Marjorie Morgan performs a new solo work of her own, involving live looping sound tracks and simultaneous solo dancing. Sound and video are provided by Jed Speare. The evening also includes a keynote talk by Marc Downie of OpenEnded Group, and a Q&A.
The 2009 Boston Cyberarts Festival takes place April 24-May 10, 2009, at museums, galleries, performing spaces, educational institutions, and on the web. Complete information about the Festival, including a searchable database of the more than 50 events and exhibitions, is available at www.bostoncyberarts.org. Further information on the Boston Cyberarts Festival is available by calling 617.524.8495 or emailing info@bostoncyberarts.org.
At a Glance
What: “Loops” Exhibition
Who: Presented by Boston Cyberarts, in conjunction with the Cunningham Foundation, OpenEnded Group, and MIT Museum
Works by Brian Knep, Golan Levin, Casey Reas, and Sosolimited
Sponsored by LEF Foundation
Where: At the MIT Museum, 265 Massachusetts Avenue, Cambridge
When: Exhibition on view April 24 – May 10. Open daily 10 am – 5 pm.
Opening Reception Friday, April 24, 5:30 – 7:30 pm
Admission: $7.50 adults; discounts for students, seniors, MIT community. Free on Sunday mornings. Admission to the Opening Reception is free.
What: “Loops” Performance
Who: Presented by Critical Moves Contemporary Dance Series, with support from the Boston Dance Alliance
Featuring performances by Jonah Bokaer and Marjorie Morgan, sound and video by Jed Speare
Keynote address by Marc Downie of OpenEnded Group, and Q&A
Where: MIT Museum, 265 Massachusetts Avenue, Cambridge
When: Friday, April 24, 8:00 pm
Admission: $20 general admission; $18 for students and Boston Dance Alliance members
Reservations online at www.bostoncyberarts.org/loops, or purchase at the door
Biographies of Performers
Jonah Bokaer is an award-winning choreographer and media artist. Based in New York, he is dedicated to expanding possibilities for live performance through choreography, digital media, cross-disciplinary collaborations, and social enterprise, in the United States and internationally. He has worked with such leading dance figures as Merce Cunningham, John Jasperse, David Gordon, Deborah Hay, Tino Sehgal, and many others. His work has been presented widely throughout the United States and abroad, including Cornell University, Dance Theater Workshop, Danspace Project, Dixon Place, La Mama ETC, P.S. 122, Symphony Space, the ISB (Bangkok), Naxos Bobine, Studio Théâtre de Vitry, and La Générale (Paris).
Marjorie Morgan is a Boston-area choreographer, composer, dancer and singer whose work often combines elements of movement, live sound, music and text. She is particularly fascinated with the territory between composition and improvisation, and between narrative and abstraction. Her original works have won her two awards for outstanding achievement in the arts and repeated Best of Boston Awards from the Boston Globe, Boston Herald and Boston Phoenix. She has performed and toured nationally and internationally with the companies of Pooh Kaye, Paula Josa-Jones, Caitlin Corbett, Snappy Dance Theater, and the Mobius Artists Group. Marjorie is a professor in the Theater Department at the Boston Conservatory.
Marc Downie is an artist and artificial intelligence researcher. Born in Aberdeen, UK, he has an MA in natural science and a MSci in physics from the University of Cambridge. In 2005 he obtained a PhD from MIT’s Media Lab, writing a thesis entitled “Choreographing the Extended Agent.” He is part of the OpenEnded Group, an association of three digital artists who create works for stage, screen, gallery, page, and public space.
Jed Speare is a crossover artist working in a variety of media and settings. Initially trained in music composition, he has presented sound, performance, video, installation, conceptual, and community-based works locally, nationally, and internationally for over thirty years. In Boston, he has been known primarily as a member of the Mobius Artists Group since 1995 and as the Co- Director and Director of Mobius from 1996 through 2004. He has recently been Director of Studio Soto, a space for ideas, since 2006.
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The Boston Cyberarts Festival, launched by George Fifield in 1999 with seed funding from the Massachusetts Cultural Council, is the only Festival in the world that encompasses all art forms, including both visual and performing arts, film, video, electronic literature, public art, and web art. The 2009 Boston Cyberarts Festival takes place April 24-May 10, 2009, at museums, galleries, performing spaces, educational institutions, and on the web.
Cyberart encompasses any artistic endeavor in which computer technology is used to expand artistic possibilities — that is, where the computer’s unique capabilities are integral elements of the creative process in the same way that paint, photographic film, musical instruments, and other materials have always been used to express an artist’s vision.
Your browser may not support display of this image.Your browser may not support display of this image.Your browser may not support display of this image.Boston Cyberarts is grateful for the support of many generous individuals and institutions, including The Andy Warhol Foundation for the Visual Arts, ArtsBoston, IBM, LEF Foundation, Massachusetts Cultural Council, Phoenix Media Communications Group, and 1330 Boylston Street.
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I wrote post this morning on Great Dance about Project Paper Trail and their innovative approach to using the Internet for creative and financial purposes. Here's the link to my post:"Project Paper Trail: A New Creative and Fundraising Model for Dance"If you are using the Internet in new ways from a creative and/or financial perspective for your dance-making, I'd be delighted to hear about your project.Best,Doug FoxGreat DanceRead more…
Posted by karla kracht on April 15, 2009 at 10:46pm
The call for entries is now open for the 2009 VideoDansa projects competition. This competition, organised by NU2's with the collaboration of TELEVISIÓN OF CATALUNYA and the Generalitat de Catalunya's Department of Culture and Media, is only open to artists working in Catalunya. This year, three projects will be selected and be granted between 6.000 and 12.000 euros each towards production.Terms and conditions (in Catalan) at their Website or directly the PDFDeadline for submitting projects: May 30th.+ info: info@nu2s.org
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Posted by TMA Hellerau on April 15, 2009 at 5:27pm
»European Tele-Plateaus – Transnational Sites of Encounter and Co-Production«With the CYNETart Festival in 2008 the Trans-Media-Akademie Hellerau (TMA) together with their partners from Madrid, Norrköping and Prague launched the project »European Tele-Plateaus – Transnational Sites of Encounter and Co-Production«. This network of virtual environments is based on the conceptual and practical activities that the TMA has been pursuing for many years and will be supported by the European Union through the year 2010. The project aims at creating publicly accessible virtual sites of sound and vision. By providing a virtual environment these spaces allow sensory-physical interactions over long distances in realtime. The visitors’ physical activities are linked and embedded in a trans-local virtual environment. Thus, so-called hyper-sites emerge which integrate various locally significant visual and sound processes via the internet. The concept of Tele-Plateaus intends to encourage interdisciplinary and intercultural ways of thinking and working as well as new forms of cross-border communication and co-operation.On the occasion of enter4 – the 4th International Art | Science | Technology Festival in Prague (18th – 25th April 2009) the TMA will present the first results of the project at their media lab on the site of the Ensemble of Buildings of the Deutsche Werkstätten Hellerau (April 25th). Further public presentations will follow in the course of this year, e.g. in Madrid in June and at the annual International Festival for Computer-Based Art CYNETart in Dresden-Hellerau (26th November – 6th December 2009).For more information, please visit the website: http://tele-plateaus.eu (launch: April 2009)The realisation of “European Tele-Plateaus“ is supported by the European Commission’s »Culture« programme (2007–2013).organizer: Trans-Media-Akademie Hellerau e.Vpartners: CIANT – International Centre for Art and New Technologies, Trans-Disciplinary Association REVERSO, BitNet Norrköpingin co-operation with: Hellerau, European Center for the Arts Dresden, T-Systems Multimedia Solutions GmbH,also supported by: Ministry of Culture Czech Republic, City of Pragueassociated partners: Palucca School Dresden, GebäudeEnsemble Deutsche Werkstätten Helleraumedia partner: DANCE-TECH.netConcept: Dr. Klaus NicolaiCoordinator: Thomas DumkeTrans-Media-Akademie Hellerau e.V. | Karl-Liebknecht-Str. 56 | 01109 Dresden | http://www.t-m-a.deThe TMA Hellerau is a »Landmark in the Land of Ideas«. It is thus part of the event series »365 Landmarks in the Land of Ideas« that is jointly carried out by the initiative »Germany – Land of Ideas« and Deutsche Bank.
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