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EKOTOPFILM 2009

Posted by Gilles Jobin on May 18, 2009 at 11:04pm
EKOTOPFILM 2009The 36th International Festival of Sustainable Development Films -ekotopfilm 2009 will be held in October 19 – 23, 2009 in the capital cityof Bratislava, Slovak Republic. The program structure and its contentfocus on all fields of economic, industrial and human activitiesstressing the need for sustainable development to be a continuousprocess.Deadline for entries: July 31 st, 2009General information and entry form:www.ekotopfilm.skTerms of participation:www.ekotopfilm.sk/index.php?page=statute
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ARTISTS-IN-RESIDENCE PROGRAM 2010

Posted by Gilles Jobin on May 18, 2009 at 8:14pm
KYOTO ART CENTERARTISTS-IN-RESIDENCE PROGRAM 2010Kyoto Art Center offers an artist-in-residence program to supportyoung artists and art researchers who wish to pursue creativeactivities in Kyoto. Applications are invited from young people in art-related fields who would like to produce works, conduct research, etc.,during their stay in Kyoto.Applications must arrive no later than June 30th 2009.Information:www.kac.or.jp
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Bud Blumenthal, the DANCERS! project

Posted by helena febres fraylich on May 17, 2009 at 11:41pm
DANCERS! is an interactive video data base of professional dancers of any style or technique improvising within a precise context : 2 minutes, defined space, exact lighting, chosen music.Designed by Bud Blumenthal, the DANCERS! project aims to put the dancer in the center to demonstrate his/her art without having to adapt to the vision of a choreographer.DANCERS! can be viewed online for free at www.dancersproject.com. where one can navigate through the dances in an easy and entertaining way that also provides links to the artists and commentaries. You want a high quality version of a particular dance for your television or mobile phone? By purchasing online for less than a euro, you can download the HQ file to your computer. - AND you will be supporting these artists financially.The DANCERS! installation will be presented for the first time in the Biennale of Charleroi/Danses in November 2009. In a public place in the city of Charleroi, Belgium, spectators can interact with the database via a control panel in front of a giant screen where the dances are life size!more info at http://dancersproject.com/Public2/
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MAX/MSP 4: Data Types

Posted by Ernest Meyer on May 17, 2009 at 10:30pm
One of the big differences between Reaktor and Max/MSP is the way information for your own design is represented within the system.Numeric Data typesReaktor has two levels of design: primary and core. In the primary level, all numbers are stored and calculated as 32-bit floats. Some processors, such as the Celeron, do not have hardware floating-point acceleration, so mathematical calculations (especially division and transcendentals) can take up alot of CPU cycles. Reaktor also supports 64-bit numbers, integers, and some bitwise manipulations in the core.Max/MSP supports intermingling of integers and floats throughout the design.Numeric ArraysIn the primary level, Reaktor supports the storage of 2-D and polyphonic data arrays of 32-bit floats in table modules. The table modules also provide a range of display options. In the core level, Reaktor's built-in modules support 1-D arrays only, but they may be integer and 64-bit types as well as 32-bit floats.Max/MSP also has table objects, but their display is not as comprehensive as in Reaktor's primary-level table modules. Tables are also not passed as messages, they are for storage only.Jitter also supports arrays, glowingly described in the promotional materials, and at first I thought I could use Jitter for advanced DSP audio calculations. However while audio manipulation in Jitter could be possible with some significant effort, the Jitter arrays (called matrices) are really intended for displaying Quicktime pictures, videos, and animations. For audio, Jitter's main benefit is to display oscilloscope-style waveforms or color-coded temporal bars. Jitter is not natively intended to provide any array processing of audio data.Text StringsReaktor permits users to store strings in the module properties, so that ports and screen elements can be named for example. However it is not possible to manipulate strings with Reaktor modules.Max/MSP handles text strings just like numeric values. Strings are passed from the ports of one object to another just like numbers. There are a range of functions for changing text strings. This is one area where Max/MSP is really superior to Reaktor. Max/MSP can change text strings much like mathematical manipulation of numbers. This enables designs to change the text in drop-down list boxes for example, which is not possible in Reaktor.ListsAn additional data type in Max/MSP, lists, provides the ability to pass messages containing more than one value in an ordered array called a list. While this theoretically simplifies design, in practice it can be very difficult to debug as the values in the lists are difficult to observe. One notes that there are a number of college courses in Max/MSP and all of them spend quite a bit of time on lists, so obviously, they are not as simple to use as they may appear at first blush.On the other hand, lists can be very powerful if you do not overload the system with them (a fast list processing object in Max/MSP is called the 'Ouzi,' a type of submachine gun. There are strong warnings in the documentation that indiscriminate firing of the Ouzi object can hang your computer).Environment MessagesMax/MSP is also more powerful than Reaktor in that it can access and control environment control variables via messages. In Reaktor, environment properties are preset in the environment and cannot be changed unless a module is available to set them.Max/MSP interacts directly with the environment so it is possible to change internal characteristics, change menus, set alert boxes, and so on.BangsFinally, Max/MSP really beats Reaktor hands down on providing the Bang message. The 'bang' message is issued at startup for initialization, as well as to set and pass parametric values through the network. A 'BangBang' module is available to send 'bangs' at power-up and preset change.This is a vast improvement over Reaktor, which provides no systematic method to manage initialization events. I was very happy to discover the 'BangBang' object, after having spent many days struggling with event initialization order in Reaktor.But do You Really Care about Data Types?Now after presenting all the data types available in each system, there is the opposing question: should an artist really need to care about data types? Well, if you are intending to create something with Max/MSP, you really need to be able to manipulate data types just like in a software program. You can get away without understanding data types too much in Reaktor, but for Max/MSP, you have to understand data types at least to the level of basic programming. So the argument here is that you should regard being able to write software programs just like being able to mix paints: it is a necessary skill that the artist must master. As to which paints the artist chooses to mix, that is the fundament of being a successful artist.Do Data Types Really Work in GUI Environments?Historically, those who sell GUI environments that manipulate data types have often had a hard time persuading the rest of us that the GUI environments actually help. Messages of different types move invisibly on the wires between the objects, and the objects need to receive messages of the type they expect in order to respond properly (messages of incorrect types are usually ignored).This is an area where many state a scripted language program is much better, because one can directly observe and control the data types moving between objects. The graphical interface actually makes it much more difficult to find problems, because the type data and messages are hidden and obscured by the pretty graphical interface.So from this perspective, if you are looking for a simple graphical environment, Reaktor is better because it has less data types. At primary level, everything is forced to one data type which may be slower to process, but at least the likelihood of there being a programming error that is difficult to find is smaller too.However Reaktor's data types are more limited in power than Max/MSP, which also has interfaces to other programming environments. it does take some significant effort to set up these interfaces, but I hope to have it done and ready for a report very soon.
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Check out reviews for Hiroaki Umeda!!

Posted by Japan Society Performing Arts on May 15, 2009 at 6:32pm

“Dazzling… eye-popping … Umeda uses very specific limited movement, seemingly becoming a three-dimensional force emanating from the screen, part MATRIX, part TRON, trapped in a digitized computer world… a beautiful, exhausting display of raw physical talent and studied control.”-- TWI-NY.com (This Week in NY), Mark Rifkin“Cool, minimalist, high-tech hip hop… Umeda has made of dance a total theater under the control of his photographer's eye. He certainly has new tricks to teach American hip hop dancers seeking fresh ways to translate their skills to the concert stage.”-- Infinite Body, Eva Yaa Asantewaa
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CFPs: Workshop on Social Behavior in Music at IEEE SocialCom-09 -- DEADLINE EXTENSION

Posted by Gualtiero Volpe on May 14, 2009 at 7:07pm
[Sorry for cross-postings]***************************************************************************FINAL CALL FOR PAPERS***************************************************************************SBM2009- Social Behavior in Musicwww.infomus.org/SBM2009Vancouver, Canada, August 29, 2009Workshop in the framework of IEEE Intl. SocialCom-09 ConferenceMusic making and listening are a clear example of human activities that are above all interactive and social. On the one hand, however, nowadays mediated music making and listening is usually still a passive, non-interactive, non-context sensitive, and non-social experience. The current electronic technologies have not yet been able to support and promote these essential aspects. On the other hand, new mediated forms of sharing music experience in a social context with local or remote users or as a part of a community are emerging. At the same time we observe an increasing need for paradigms for embodied and active experience of music where non-verbal communication channels, and in particular movement and gesture, play a central role.This workshop focuses on the social signals and their features that are most significant for a qualitative and quantitative analysis of social behavior and experience in music. The workshop will discuss computational models, algorithms, techniques for analysis of social behavior in music, their application in concrete test-beds, and their evaluation in experimental set-ups. We are interested in exploring many-to-many human interplay, such as the performer-listener, performer-performer, and listener-listener interaction, in novel scenarios where the distinction between listeners and performers fades out and users become producers and consumers of music experience.WORKSHOP TOPICSWe encourage papers and demos addressing fundamental research issues including, but not limited to, the following topics:- theoretical approaches to social behavior in music- experimental methodologies for analysis of social behavior in music - computational models of social behavior in music- analysis of social signals in music- synchronization of human behavior in music- analysis of social roles in performers and listeners groups- analysis of attention and salience in social music experiences- multimodal interfaces for active and social music experience- cooperative social environments for participative music experience - multi-user systems and application for social music experienceELECTRONIC SUBMISSIONSSubmissions should follow the IEEE conference paper format.Submissions should include: title, author(s), affiliation(s), e-mail address(es), tel/fax number(s), and postal address(es).The contributions can be submitted at:http://infomus.org/SBM2009/commenceBoth accepted papers and demos will be presented at the workshop as oral presentation or in a demo session. The accepted contributions will appear in the Proceedings of Social-Com09 Workshops published by IEEE Computer Society Press. Authors of accepted contributions will be required to submit a camera ready version.At least one author for each accepted paper or demo is required to attend the workshop to present the work.Papers submission:Manuscripts should be 8 pages maximum, including references, tables, and pictures.Demo submission:Proposal for demonstrations should be submitted as a (max) 2-pages extended abstract including pictures and technical details.IMPORTANT DATESMay 17, 2009: Submissions deadlineJune 5, 2009: Notification of acceptance June 15, 2009: Camera ready version due to electronic form August 29, 2009: SBM2009 WorkshopWORKSHOP ORGANIZERS AND CHAIRSAntonio CamurriDonald GlowinskiMaurizio ManciniGiovanna VarniGualtiero VolpePROGRAM COMMITTEEFrederic Bevilacqua (IRCAM, France)Roberto Bresin (KTH, Sweden)Shuji Hashimoto (Waseda University, Japan) Ben Knapp (Queen's University Belfast, UK) Marc Leman (Univeristeit Ghent) Anton Nijholt (University of Twente, NL) Maja Pantic (Imperial College London, UK and University of Twente, NL) Catherine Pelachaud (CNRS, France) Isabella Poggi (Università Roma 3, Italy) Xavier Serra (UPF, Spain) Alessandro Vinciarelli (IDIAP, Switzerland)The workshop is partially supported by the FP7 EU-ICT Strep Project SAME (www.sameproject.eu).
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Basics of Cuban Motion in Latin Dancing

Posted by Nancy Henrichsen on May 11, 2009 at 6:28pm
The Cuban Motion present in the Latin American dances is characterized by a movement of the hips caused by the natural shifting of weight from leg to leg and the bending and straightening of the knees. When done properly, the swaying of the hips becomes an instinctive part of the style of the dance. Smaller steps, rather than larger, are the key to a lovely Cuban Motion. Larger steps actually causes your weight to fall onto the stepping foot rather than a shift to the stepping foot, which is desirable.Salsa, Mambo, Samba, Cha-Cha, and Rumba all require Cuban Motion to get the right look. It transforms the dance from just a pattern of steps to a fun and sensual communication between the dance partners. Get those hips moving to the music, and have fun!
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SEEDS (Somatic Experiments in Earth, Dance, + Science) Festival #2 :: JUNE!!!

Posted by Earthdance on May 11, 2009 at 4:46pm
Hi All,Here is the latest from Earthdance.JUNE 14 – 28, SEEDS Festival (Somatic Experiments in Earth, Dance, + Science)SEEDS Festival is a unique interdisciplinary summer festival dedicated to arts and ecology. SEEDS features workshops, collaborative design projects, live performances, films, panel discussions, interdisciplinary investigations, and an archiving project. SEEDS cultivates innovative practices, by researching the connections between green, embodiment, justice, interconnectivity, reflection, investigation, art, science, and sacred.SEEDS 2009 will focus on potentiality . Potential for new growth is generated in places where diverse organisms meet. In this year of potential political change, we invite this phenomenon into our interdisciplinary investigations .For full information visit www.earthdance.net/seedsVisit our 2008 Ning site to see more about last years festivalCurators 2009: Olive Bieringa, Melinda Buckwalter, + Margit GalanterBelow is a list of workshops that make up the SEEDS Festival with brief descriptions:SEEDS ScheduleJune 14 - 19 Ritual Dance: Intimate + Universal Spaces with Diego PinonDiego Piñón's Butoh Ritual Mexicano Dance is a creative research practice based around personal experiences, collective symbols, and deep expressive needs. Intense physical training cultivates individual creativity through the use of emotional environments and energetic charges within a supportive, non-judgmental atmosphere. Together, each individual reinforces the exchange and expansion of collective energy in order to realize a communal dance creation.June 14 - 18 Along the Watershed with Simon Whitehead and Jennifer MonsonIn this workshop we shall walk, dance and locate the watershed divide close to Earthdance. We will explore its ecology both as it resides in the movement and scale of this land and in its constant imminence in our lives. The workshop will culminate with a 24-hour dance process and fast, followed by food and a day of performance- making in response to the place and the workings of the watershed.June 14 - 18 Mycoscaping + Ecology of Transformation with Rafter SassLiberation Ecology - Design Studio.What would "sustainability" look like, if it refused to sustain white supremacy? What could "liberation" look like, in a society headed for ecological collapse? Come and help fill in the missed connections between social and ecological strategies, in and environment of creative collaboration.Mycoscaping IntensiveMushrooms everywhere! Food, medicine, bioremediation, and more - fungi have a crucial role to play in creating healthy and abundant landscapes. Come explore the world of wild and cultivated fungi through a holistic permaculture lens. Includes lots of hands-on!June 19, 20, & 21 The Sustainable Landscape R.U.S.T. - Skott KelloggThis is a three-day workshop. It can be taken in its entirety, as a one-day workshop for introductory permaculture principles, or as a two-day weekend workshop for hands-on practice. In this class we will focus on two different systems that can be incorporated into a sustainable landscape: aquatic polycultures(swamp gardens) and compost teas (bio-brews). For the first one, we build an actual pond, and seal it using a method called "gleying". The pond will then be stocked with an array of aquatic plants and animals that can be harvested to make food, fuel and fertilizer, in addition to creating a beautiful water garden that attracts wildlife. We will discuss the many benefits of aquatic polycultures, their use around the world, and how a system could be modified in order to raise fish. Compost tea is a liquid culture of beneficial microorganisms that can be applied as a fertilizer to crops, or be used to remediate contaminated soils. In class, we will brew a tea and analyze it beneath a microscope. Day 1 (Friday) of this class will consist of an overview of these and other sustainable technologies, and day 2 and 3 will be more hands-on oriented, as we do the work of building the pond.June 20 & 21 SEEDS WEEKEND Mini-FestivalThis weekend mini-festival within SEEDS consists of several 3-hour long workshops. There are two themes from which to mix and match. The classes will start Friday evening and continue through Sunday mid-day. You are welcome to come for the whole weekend, or drop in, as well.Green/Body/Local. How might somatic studies create a basis for, inform, expand, and interweave our social and environmental consciousness? These workshops address the body as investigator/mediator of issues concerning environment, ecology, sustainability, and/or social justice. With Sondra Loring + Kavitha Rao (Somatics and Sustainability), Kristin McCardle (Gettin' Your Greeny Green On), Moti Zemelman + Camille Renarhd (Pockets of Resistance), and Karl Kronin (Dry Earth).Contact Improvisation, the Social Experiment Continues. CI, previously described as "confronting comfort culture" and "a political shock absorber," has more recently been called out for its lack of racial diversity. Where is the social experiment at today? These workshops will consider the power of the body in movement to question our social conventions/compositions/hierarchies through the practice of CI. With Neige Christenson (Freeing the Contact Mind), Kerstin Kussmaul ( The Intelligence of your Touch ) , Dan Bear Davis + Sarah Day (Corporeal Permaculture), and Dustin Haug + Tamin Totzke (Redirecting Yes).June 21 - 28 Eco-Art for Everyday Life with Beverly NaidusThis course offers an opportunity both to learn about Eco-Arts and to develop a public project with the guidance of the facilitator. Participants will explore different ways of incorporating eco-art practices into their everyday life and their communities. We will discuss some of the ecological issues facing us both on the local and global level, look at the work of contemporary eco-artists, and develop some collaborative site-specific projects.June 21 - 28 The Prosodic Body - Integrating Interior + Exterior Spaces with Daria Faïn + Robert KocikThrough rigorous warmups and discussion we will trace the interconnectivity of the senses, organs, glands, emotions, and the ways in which language regulates the body. To this end we will draw upon Chi Gong, neuroendocrinology, Chinese 5 Element Theory, and prosody in particular. We will gradually orient ourselves in the external environment by introducing architectural terms. Over the course of the workshop we will draw rudimentary sketches and plans for a building designed for the explicit purpose of integrating interior and exterior environments.June 27 SEEDS PUBLIC COMMUNITY CELEBRATION: This is a full day and evening celebration of investigations that have taken place at SEEDS. There will be performances, classes, presentations, participatory events, and other interdisciplinary surprises for all ages. You are welcome all day or for part. Details TBA

SEEDS is hosted at Earthdance, a dance retreat center in the Berkshire Mountains of Western Massachusetts featuring two beautiful dance studios, farmhouse, comfortable dorm accomodations, vegetarian cuisine, wood-stove sauna, spring-fed swimming quarry, and 100 acres of magnificent hills.
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GENEVA SESSIONS 09 MADE IN LAUSANNE : Image/Motion: New Mediation of the Performance of Motion

Posted by Marlon Barrios Solano on May 11, 2009 at 10:30am
I am will be leading a workshop in Geneva. More info here Arsenic – Lausanne - Switzerland from 8th to 19th juin 2009

Image/Motion : New Mediation of the Performance of Motion an interdisciplinary workshop by Marlon Barrios Solano

Guest of honor : Bernado Guiamba and Benedito Cossa, dancers and choreographers, Cie Esculturas Humanas based in Maputo, Mozambic.

In this workshop we will survey and explore the impact of recent developments of new digital technologies on the performance of movement, choreography and image construction within multimedia systems for performances or installations. We will investigate the coupling of movement and image and the creative/aesthetics potential of working with real-time interactive software, portable devices and the www.

Geared to professional dancers, choreographers, filmmakers and interdisciplinary artists teams, an emphasis will be on collaborative experimentation on the prototyping of multimedia works exploring the intersection of image and movement production and mediation. Main language of workshop : english

The workshop includes a technical class (dancers only) every morning from 10AM to 11:30PM. From 8th to 12th of June, i twill be directed by Banu Ogan and from 15th to 19th of June by Gilles Jobin.

Geneva Sessions 2009 is organized by Cie Gilles Jobin with the support of Arsenic-Lausanne, Pro Helvetia-Cape Town, La Loterie Romande, Association Vaudoise de Danse Contemporaine, le Fonds de Formation Professionnelle et Continue Genève and les Rencontres Professionnelles de danses – Genève.

GENEVA SESSIONS 09 MADE IN LAUSANNE Arsenic – Lausanne - Suisse du 8 au 19 juin 2009 Image/Mouvement : Nouvelles relations 
un workshop interdisciplinaire dirigé par Marlon Barrios Solano. Invités d’honneur : Bernado Guiamba et Benedito Cossa, chorégraphes, Cie Esculturas Humanas basée à Maputo, Mozambique Nous travaillerons sur l’impact des récents développements des nouvelles technologies numériques sur le mouvement et la chorégraphie, ainsi que sur la construction d’images dans les systèmes multimédias pour les performances et installations. Nous ciblerons notre recherche sur les liens entre le mouvement et l’image, ainsi que sur le potentiel artistique et esthétique des logiciels interactifs en temps réel, des dispositifs portables et du web. Voir dossier complet ci-dessous. Destiné aux danseurs, chorégraphes, cinéastes et équipes artistiques interdisciplinaires, l’accent sera mis sur l’expérimentation de prototypes multimédia explorant les correspondances entre l’image, la production de mouvement et la médiation. Langue principale du workshop : anglais. Le work shop comprend une classe technique réservée aux danseurs tous les matins de 10h à 11h30. Elle est dirigée du 8 au 12 juin par Banu Ogan et du 15 au 19 juin par Gilles Jobin. Formulaire d’inscription (voir ci-dessous) à retourner d’ici au 11 mai 2009 à genevasessions09@gillesjobin.com Confirmation des sélections le 15 mai 2009. Geneva Sessions 2009 est organisé par la Cie Gilles Jobin avec le soutien de l’Arsenic-Lausanne, Pro Helvetia-Cape Town, La Loterie Romande, l’Association Vaudoise de Danse Contemporaine, le Fonds de Formation Professionnelle et Continue de l’Etat de Genève et les Rencontres Professionnelles de danses - Genève.
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Dance tech books and articles

Posted by Katherine Mezur on May 10, 2009 at 9:17am
I am reviewing a new text by Johannes Birringer. Has anyone out there read it? It is titled: Performance, Technology, and Science. I would love to hear from choreographers and/or engineers, tech/artists what you think of it. Steve Dixon also did a substantial work two years ago on New media Performance, and Susan Broadhurst and others have put together several volumes and I was wondering what the community's reactions or thoughts were on any of these publications? I would be very interested in hearing about books and articles that have been important to your work that deal with both performance and new media or technologies, immersive, interactive, online, in installations, in galleries and/or proscenium-based. thanks,Katherine MezurAssistant ProfessorUniversity of Washington, SeattleChairSociety of Dance History Scholars 2009 Conference:Topographies:Bodies, Sites, Technologies June 19-22 (Stanford University and San Francisco)
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Participation Makes the Site!

Posted by Marlon Barrios Solano on May 9, 2009 at 10:30pm
Hello dance-techers, Welcome the new members! Dance-tech.net is conceived as a distributed and decentralized open platform for generation information and knowledge. It is a communicational intervention in our cultural system that allows us to be proactive, critical and responsible for the generation of knowledge about our practices and happenings without depending in the main stream (often) centralized media platforms of the establishment, and commonly dominated by market forces and traditional perspectives of the system of distribution of art. I am very happy with the increased participation in last three months but still receive some emails with newsletters and press releases from some members asking me to post them. Humm! Sometimes I do...but you can do it yourself... In this short message I thank you for your willingness to participate and I encourage you to be part of the conversations, to showcase, to challenge, to respectfully disagree, to update your profile, to invite friends to join and to request friendships creating your internal emergent network. To share! I invite you to continue using the platform for video sharing, events promotion, and participate in discussions and groups. Express your self customizing your page design and layout! Find creative ways to using them! Suggest readings! Make a collaborative poem or a dance! or just say hello! Meetup face to face with dance-tech.net members of your city! Take advantage to the different kind of organizations that are members...We all can help! NUMBERS: I think that the usage numbers will motivate us: in the last two months we have maintained an average of 1500 page visits a day and we have reached the 3000 page visits a day several times. We have reached critical mass and we are manifesting the synergies of participation that this open platform allows! It is the participation of people what makes a SITE, in cities and the internet. We do make this site together! So, we are growing and we keep rocking! Please review these links: Pioneers and New Explorations on dance-techTV + What is dance-tech.net + How to use dance-tech.net? + Tangible benefits for dance-tech.net members + Share videos of your work and process + Upload your screendance videos + Watch dance-techTV + Watch DANCE TECH/Program + Watch more than 80 dance-tech.net interviews

+ Support dance-tech.net

Any questions contact: marlon(at)dance-tech(dot)net or just comment here! Marlon barrios Solano Geneva I also want to thank the Gilles Jobin Company (Switzerland), TMA Hellerau (Germany) and STEIM (the Netherlands) to make possible this research adventure
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Critical Movement Practice on Empyre

Posted by Ashley on May 5, 2009 at 7:46pm
Everyone should check out -empyre- on "Critical Movement Practice" this month. Guests include Stamatia Portanova, Johannes Birringer, Laura Cull, Sarah Drury, Erin Manning, Nora Zuniga Shaw, Stelarc and myself. Click here to join in the discussion!Below is my introductory post:Hello everyone! What an exciting opportunity to engage with thistopic, Critical Movement Practice in such an open forum and for such agenerous period of time. I do hope that many people from manyperspectives get involved in what I am sure will prove to be aninteresting discussion. To start things off I will share some thoughtson my artistic work and academic scholarship, if you will allow me totemporarily bifurcate these two inseparable aspects of my career. As achoreographer who has a particular interest in digital media, Iexplore real-time dancer/audience interactions with digitalperformance technologies including live video motion tracking andmotion tracking sensors. My work with this technology has led me toquestion how digitally facilitated movements impact our physicalawareness and stand relative to dance history. As a femalechoreographer, I find relationships between dance history and digitaltechnologies particularly important as I consider social relationsthat might instantiate a classically masculinized audience gaze.Projection screens, for example, can hang to segment a stage,consequently obstructing the audience’s view. This can empower adancer to appear and disappear, or join the audience in watchingprojected images. The performer can transcribe the space betweenaudience members, screen and projection thereby destabilizing anotherwise objectifying gaze. Doesn’t this seems like such a simpleanswer to an audience/dancer relationship that choreographers haveworked to deconstruct for decades?! Even with the introduction of adestabilizing projection, though, the relationship remains morecomplicated.In order to consider examples of how our everyday movements andtechnologies can both inspire and complicate dance choreography, Ioften turn to my experiences as an audience member, choreographer,performer and theorist as one moving/thinking body to complicate ahistorical situation of dance history alongside technology. Byconsidering my experience as an audience member and in thechoreographic and performance process, I hope to clarify whether ornot digital projection and presence can open the gaze and defuse thesubsequent objectification of a dancer. In doing so, I explore howdigital technologies can inspire and re-open my conceptions of whatchoreographing corporeal technology can be, or is. This research alsooften consists of philosophical perspectives ranging fromphenomenological to deconstructionist to historiographical standpointsamong others. As we write about critical movement practice I hope thatwe can think not only about questions surrounding the danceperformance space, that we think also about how we write theory thatspeaks to, or is movement and practice movement that speaks to, or istheory.
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FEMALE & MALE DANCERS/PERFORMERS interested and experienced in both physical and theatrical work.

Posted by Gilles Jobin on May 5, 2009 at 1:59pm
Choreographer MONICA ANTEZANA is looking for her new dance production 'The G String Theory':FEMALE & MALE DANCERS/PERFORMERSinterested and experienced in both physical and theatrical work.WORKING PERIOD:Rehearsals: 1st of August to 30th of OctoberPerformances: 31st of October to 8th of November - as part of the German Dance Congress 2009WORKSHOP - AUDITION:When: Saturday 16th and Sunday 17th of May, 10:00 - 19:00.(Contact me for other dates if you cannot on these).Where: Kampnagel Theater HamburgAPPLICATIONS:Only by invitation after sending your CV & Video Link until 10.05.09 to monicaantezana@gmail.comwww.monicaantezana.comwww.tanzkongress.dewww.kampnagel.de
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Call For Proposals DIY 6: 2009 Professional development projects BY artists FOR artists

Posted by Gilles Jobin on May 5, 2009 at 1:54pm
Call For ProposalsDIY 6: 2009Professional development projects BY artists FOR artistsDeadline for proposals: 11 May 2009DIY 6 is an opportunity for artists working in Live Art to conceive and run unusual training and professional development projects for other artists.DIY 6 builds on the strengths of previous DIY schemes which have been rewarding experiences for project leaders, participants and organisers alike.DIY 6 is a Live Art Development Agency initiative developed in collaboration with Artsadmin (national), New Work Network (national) The Basement (South East), Colchester Arts Centre (East England), Nuffield Theatre & LANWest (North West), and PLATFORM (South West and national).We want to hear from you if have an idea for an exciting, innovative and idiosyncratic Live Art professional development project that offers something new and is geared to the eclectic and often unusual needs of artists whose practices are grounded in challenging and unconventional approaches, forms and concepts. If you think you can initiate and run a DIY 6 professional development project then read the full application guidelines on www.thisisLiveArt.co.uk• We are planning to support nine DIY 6 projects across England with awards of £1,000 each.• Of these nine projects there will be one each specifically based in, and/or stimulating and benefiting artists from, the North West, South East, and East England. In a special one off initiative for DIY 6 we are also seeking proposals to lead two DIY projects in collaboration with PLATFORM which will address and revolve around the issue of climate change and climate justice, one of which must take place in Bristol. All other DIY 6 projects can take place anywhere in England.• All DIY 6 projects must take place between 1 August and 30 September 2009.Full application guidelines are on www.thisisLiveArt.co.ukEmail versions of the guidelines can also be requested from diy@thisisLiveArt.co.ukI believe 'DIY for artists' is a really productive form of training, as it is so specifically tailored to what I need. I've been on many training courses before but none that felt so relevant to me. To carry on the tailoring analogy - it's the difference between a bespoke suit and an off the peg outfit!! (Clare Thornton, DIY 1 participant)I’ve learnt more in these three days than in the past six months. (Casper Below, DIY 2 participant)The workshops have refreshed my outlook and contexts for making and performing artwork. (Jenny Edbrooke, DIY 3 participant)As a way of creatively engaging with others this was very different from anything I have experienced before. (Sarah Bell, DIY 4 participant)We were invigorated, perplexed, well fed, exhausted, annoyed, talkative, fit and sporty. We made some new friends and strengthened our relationships with the others we knew from before. We worked hard and had some fun. We wondered and wandered together. We considered resistance and hope and are left with more than enough food for thought. (DIY 5 participants on First Retreat then Advance!!)Reports on all previous DIY schemes found on www.thisisLiveArt.co.ukDIY 6 partners:www.thisisLiveArt.co.ukThe Live Art Development Agency offers resources, professional development schemes and curatorial and publishing initiatives to support Live Art practiceswww.artsadmin.co.ukArtsadmin is a national resource offering advice and professionaldevelopment for artists within in the areas of live and performance art, based in Toynbee Studios, London.www.colchesterartscentre.comColchester Arts Centre: Never knowingly understoodwww.nuffieldtheatre.comThe Nuffield Theatre Lancaster is a key UK venue for nurturing, presenting and commissioning artists working in experimental theatre, contemporary dance and live art.www.thebasement.uk.comThe Basement is a dedicated innovative and experimental live art venue with a regular programme for presenting national and international performance.www.platformlondon.orgPLATFORM combines art, research, campaigning and activism towards social and ecological justice.www.newworknetwork.org.ukNew Work Network supports the development of new performance, live and interdisciplinary arts practices by nurturing arts practitioners through the creation of innovative professional development activities that focus on networking, exchange and collaboration across the UK and internationally.Maria AgiomyrgiannakiLive Art Development AgencyRochelle SchoolLondon E2 7ESUnited Kingdomt: +44 (0)20 7033 0275f: +44 (0)20 7033 0276info@thisisLiveArt.co.ukmaria@thisisLiveArt.co.uklois@thisisLiveArt.co.ukandrew@thisisLiveArt.co.ukwww.thisisLiveArt.co.ukwww.thisisUnbound.co.ukThe Live Art Development Agency is an impressive, idiosyncratic example of what a small organisation can achieve as collaborator, conduit and cultivator.(Real Time, Sydney, Australia)
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