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In February of this year, we created the dance Kama Begata Nihilum, which involved a cast of seven dancers with networked iPads, as well as an AR app for the audience to extend the borders of the stage, and to augment the audience experience. We wrote custom software for the iPads, as commercial apps are usually one-dimensional and somewhat too slow for stage use, and all have one undesirable feature for display onscreen: menus! The software for the dancers allowed for interactive music making, graphics that extended across tablets, color switching, and pushing text onto them. The AR app showed extra 3D graphics behind the main stage prop/character, a giant robot-like totem with a large-screen TV in its belly that also participated in the tablets' displays.

Here, finally, is a video of that dance:  https://vimeo.com/87794341 The video shows how the audience app worked with the stage event.

And here, again, is a review of the dance. http://www.news-gazette.com/arts-entertainment/local/2014-02-16/melissa-merli-theres-app-dance.html

We are working on a paper about the making of Kama Begata Nihilum, so stay tuned for that.

Lake Studios Berlin: 6 week Dance-tech AIR Residency

Jeannette Ginslov

16 July - 30 August 2014

For six weeks Danish/South African dance on film specialist, for screen, AR and the internet, Jeannette Ginslov, will research and explore the notion of: P(AR)ticipate: a body of experience/a body of work. Ginslov will research the connections between her past and present, the 'real' and the remembered, the virtual and the archived and how it may be accessed by screendance, the internet and the augmented reality app Aurasma.

The research will culminate in a live solo performance that asks the viewer to participate with their smart mobile devices to uncover the layers of archived video material, personal stories and political memory. In addition the viewer will experience empathic responses in the exploration of these narratives, and at the same time reveal the instability of personal memory, its state of flux and temporality. Ginslov's research asks and tests how memory is stored in the body and how it may be retrieved by new media tools and audience engagement.

The performance, 30 August, invites the audience to P(AR)ticipate virtually in Jeannette Ginslov's personal memories of living in an Apartheid and Democratic South Africa, the POV of the "other-other", as well as documentary footage of her dance archive, that begins 1998 and is still ongoing, by using the AR app Aurasma on your smart mobile device.

The app is triggered by markers tagged on Ginslov's moving body and as you scan your device very close to the markers on her body, you and the dancer connect, pause or move slowly together, as the video plays. There could up to 5 viewers doing so at once thereby allowing the viewer to become part of the choreography and performance of memory, presence and porous materialities.

In this way the work is a dialogue, a contact mediation, where both dancer and viewer are aware of the connection point and its ephemerality. The work emphasizes time, history, real, virtual and digital materiality as well as memory that is contained in certain parts of the body. It is immersive and disrupts usual performance-audience dynamics.The tags are like wormholes used to uncover memories and experiences stored in the body and so the the performative work becomes a "visceral seepage", oozing from the dancer's body and rendered into haptic, empathic and visceral connections between dance and viewer.

Ginslov will also run three workshops leading up to this performance: 

Screendance Workshop 01 23 August  10h to 18h

Dance and Choreography for Camera/Dance with for by Camera

Screendance Workshop 02  24 August -  10h to 18h 

60seconds dance films - shoot, edit & upload, for screen and internet

Screendance & AR Workshop  30  August 10h to 18h

Create a screendance AR journey of choreographies

Workshop Requirements: Small video handy-cam or phone with a camera and a laptop with editing software if possible.  

For the Performance and Workshop you will need to download Aurasma onto your Android or Apple device from the App Store. Once downloaded you can search for the P(AR)ticipate Channel and follow it. For more details see Aurasma: http://www.aurasma.com/ . You will be assisted at the performance in doing this and will be able to use an iOS device if you do not have one.

Cost per Workshop: €60 Additional Workshop: €50

Lake Studios Berlin, Scharnweberstrasse 27

12587, Berlin – Friedrichshagen

T: +49 (0) 30 – 9900 – 9814

E: lakestudiosberlin@gmail.com

Visit Jeannette Ginslov's Website for her portfolio of work

 Apps4festivals is conceived as a sustainable model for development of  mobile apps for art festivals and cultural events.

A mobile app was developed for ImPulsTanz 2014- 2015 (Vienna, Austria)  and Tanz Im August 2014-2015 (Berlin, Germany) with features specially geared to facilitate an  effective event guide, audience engagement  and community interaction around the festival activities.

The app is customizable to showcase the events with rich multimedia features, adaptive event branding, personalized events calendars, interactive geolocated maps, push notification, content management system, comprehensive stats and in app social networking spaces.The app connects with main social media platforms.

The support from ImPulstanz Festival 2014/15  and Tanz Im August 2014/15 have been crucial for the research and development of the scaffolding, framework and  suitable design for complex events that combine performances, workshops, master classes and spacial formats.

After these two prototypes, the app is available to other events for further usage and development for a sustainable fee to cover the specific customizations and content management for the new event.

The dance-tech apps4estivals is a project conceived by Marlon Barrios Solano.

Interested:
Marlon Barrios Solano
marlon@dance-tech.net

These are the app's main features:

• Push notifications: real time updates about events, news and specials
• Home page with information about the festival.
• Festival event and artists pages.
• Add the events to your mobile phone calendar.
• Share items and texts in Facebook, Twitter and email.
• Locate events venues in interactive live map and get directions on the map app.
• Create a personalized calendar with your events. Mark events as favorites.
• Create a brief profile.
• Shout or post images and texts via the app, creating a collective stream of news.
• Check in places and festival venues.
• Direct feedback and reviews: post and share comments on each event pages, performances, workshops and parties.
• Explore the festival social media outlets: Instagram, Facebook, Twitter and You Tube.
• Watch video collection relevant to the festival.
• Execute in app point based loyalty campaigns.
• In app QR code scanner!

Thanks to ImPulsTanz and Tanz Im August!

Now, let's take in on TOUR!

2014

2015

El 21 de junio de 2014, en el marco del seminario MOV-S que tuvo lugar en Guadalajara (México) del 18 al 21 de junio, se realizó una presentación final de todo el trabajo realizado por los participantes. Se presentaron la dramaturgia, el recorrido por el dispositivo artístico, los tres ejes de trabajo y las concreciones de éstos en los 3 proyectos seleccionados.

El 21 de junio de 2014, en el marco del seminario MOV-S que tuvo lugar en Guadalajara (México) del 18 al 21 de junio, se realizó una presentación final de todo el trabajo realizado por los participantes. Se presentaron la dramaturgia, el recorrido por el dispositivo artístico, los tres ejes de trabajo y las concreciones de éstos en los 3 proyectos seleccionados.

El 21 de junio de 2014, en el marco del seminario MOV-S que tuvo lugar en Guadalajara (México) del 18 al 21 de junio, se realizó una presentación final de todo el trabajo realizado por los participantes. Se presentaron la dramaturgia, el recorrido por el dispositivo artístico, los tres ejes de trabajo y las concreciones de éstos en los 3 proyectos seleccionados.

El 21 de junio de 2014, en el marco del seminario MOV-S que tuvo lugar en Guadalajara (México) del 18 al 21 de junio, se realizó una presentación final de todo el trabajo realizado por los participantes. Se presentaron la dramaturgia, el recorrido por el dispositivo artístico, los tres ejes de trabajo y las concreciones de éstos en los 3 proyectos seleccionados.

Ponemos a vuestra disposición la memoria del proyecto MOV-S 2014. Incluye una descripción completa del mismo y su misión, metodología de trabajo y contenido de los seminarios en Galicia, Bilbao y México, datos de asistencia, acciones de comunicación y visibilidad e impacto económico.

Descarga el documento.

El 21 de junio de 2014, en el marco del seminario MOV-S que tuvo lugar en Guadalajara (México) del 18 al 21 de junio, se realizó una presentación final de todo el trabajo realizado por los participantes. Se presentaron la dramaturgia, el recorrido por el dispositivo artístico, los tres ejes de trabajo y las concreciones de éstos en los 3 proyectos seleccionados.

Ania González y María Ptqk nos ofrecen el siguiente relato del trabajo realizado en el marco del Prototipo Interinstitucionalidad en el MOV-S Bilbao.

Descarga el documento.

Natalia Álvarez y Arantxa Mendiharat nos ofrecen el siguiente relato del trabajo realizado en el marco del Prototipo Plataforma en el MOV-S Bilbao.

Descarga el documento.

El 21 de junio de 2014, en el marco del seminario MOV-S que tuvo lugar en Guadalajara (México) del 18 al 21 de junio, se realizó una presentación final de todo el trabajo realizado por los participantes. Se presentaron la dramaturgia, el recorrido por el dispositivo artístico, los tres ejes de trabajo y las concreciones de éstos en los 3 proyectos seleccionados.

Al final de la última sesión del Prototipo Plataforma en el marco del MOV-S Bilbao, diversos participantes presentaron las claves de 2 de los 3 modelos propuestos como resultado de dos días de trabajo conjunto.

Para entender el contexto os invitamos a que echéis un vistazo a documento en el que se describe la metodología llevada a cabo en las diversas sesiones de trabajo.

Idoia Zabaleta y Ricardo_AMASTE nos ofrecen el siguiente relato del trabajo realizado en el marco del Prototipo Prácticas Artísticas Críticas en el MOV-S Bilbao.

Descarga el documento.

El 30 de mayo en el marco de MOV-S Bilbao, Ania González presentó el proyecto Contrato Interinstitucionalidad / Kit para la construcción de una relación contractual. 

El vídeo está disponible en el siguiente link: http://ow.ly/yJHOX Contrato Interinstitucionalidad es un proyecto de creación de un "kit documental" jurídicamente operativo para la formalización de contratos o acuerdos de colaboración en el ámbito de las Artes Vivas que tengan como pares a creadores, medidadores e instituciones culturales, públicas o privadas. A raíz del proceso de trabajo colectivo iniciado en MOV-S, plantea la creación de un documento abierto y transformable capaz de introducir y mantener los criterios definidos por la comunidad de creadores y profesionales acorde con las necesidades técnicas y teóricas de cada una de las disciplinas que integran las Artes Vivas.

Ania González es crítica cultural y co-directora de la revista online especializada en arte contemporáneo Plétora. Colabora en el proyecto de investigación Canales alternativos de creación experimental. Eje noroeste 1975-2012 de la Universidad de Santiago de Compostela.

lysisundkritik.wordpress.com / pletora.es

DEADLINE EXTENDED || Submissions for POOL 14 – INTERNATIONALE TanzFilmPlattform BERLIN are still possible until 14th July!

http://pool-festival.de/anmeldung.html

El 30 de mayo en el marco de MOV-S Bilbao, Blanca Calvo presentó el proyecto Cuando el cuerpo desaparece.

Podéis ver el vídeo en el siguiente link: http://ow.ly/yJKMr

<strong>Cuando el cuerpo desaparece </strong>es un proyecto que ha explorado la desarticulación en <em>performance</em> entre cuerpo y voz a través de emisiones de radio y la publicación de Cuadernos. Ya en su inicio, la voz apareció como el vehículo para realizar el recorrido. En la traslación de la percepción de la performance a otro medio, radio y publicaciones, se intuía que se iban a encontrar preguntas. Se escogió la radio porque permitía, desde el micrófono, acceder a la idea de estar en el aire, en la articulación entre el exterior y el interior del desarrollo del proyecto. Esto tenía que ver más con un cambio de orden de las cosas, con romper unos dispositivos para liberar los movimientos de su propia materialidad.

Blanca Calvo es directora artística, coreógrafa e intérprete. Su actividad está ligada a dos ciudades, Madrid y San Sebastián, entre las que ha transitado y en las que ha articulado diversos proyectos de carácter generativo y procesual.

<a href="http://www.mugatxoan.org" target="_blank">www.mugatxoan.org</a>;

El 31 de mayo en el marco de MOV-S Bilbao, Beatriz Cavia y Leire Vergara presentaron el proyecto Bulegoa Z/B.

Bulegoa Z/B es un espacio para la producción, la discusión, el debate y la reflexión, el intercambio de ideas, el desarrollo de la investigación y la materialización de proyectos artísticos ubicada en el barrio bilbaíno de Solokoetxe. Esta iniciativa de colaboración, que organiza diversos tipos de actividades y pretende constituirse en un lugar de cruce entre la práctica y la teoría, surge alrededor de las siguiente líneas de investigación: los procesos de historización, la traducción cultural, la performatividad, el cuerpo, el postcolonialismo, la teoría social, las estrategias de archivo y la educación.

Sus componentes son Beatriz Cavia, Isabel de Naverán, Miren Jaio y Leire Vergara. Proceden del comisariado, la crítica de arte,la coreografía y las Ciencias Sociales, campos en los que paralelamente desarrollan distintos proyectos.

www.bulegoa.org

THÆTA is the third performance of StratoFyzika’s Shadows Trilogy. With new collaborations in sound and interactivity (sensors building, coding), the concept still steeped in the subconscious realms and dealing with the ego: the dark and light shadow aspects of self (as in the first two parts of the trilogy) but also on the edge of the conscious, waking self; visions on the edge of sleep, whispy light shadows, multi-dimensional geometric objects, sudden sound as if from the halls of a mind in a dream state. 
This liminal zone is a state referred to as Hypnogogia. 

THÆTA embodies this borderland state. 

All merge onto the stage, interactively; body dynamics, auditory sensations and visuals function as the culmination of parts into one constellation in live performance.

Interactive Stratum

The aim of introducing interactivity in our work is to engage a live performative environment where the movement is able to affect the sound and the image as well as with those elements. To accomplish this task in a meaningful way, something beyond a 1 to 1 connection between sensors and effects parameters should be achieved. Data is not information until it is analyzed and transformed. In this direction, different pattern and gesture recognition algorithms are applied to the values coming from the sensors in order to extract the key steps out of the choreography. This technique allows the performer to establish a set of movements to create a new language within the scope of a particular performance.


Sensing Stratum

Body-mounted sensors: three-axial accelerometers and a gyroscope, are being used as the primary sensing mechanism for quantification of temporal variations in motion and gesture. THÆTA uses a specifically designed prototype of wearable electronic devices whose main module is based on Arduino Fio, and an x-bee module for wireless communication.


Sound Stratum

The soundtrack for THÆTA is composed of abstract atmospheres and drones which at a certain point morph into rhythmic patterns and lead the piece to its most intense conclusion. The sound synthesis process is connected to the sensors' signals and the overall quantity of movement is mapped to the occurrence of sound, which shapes refinements with movement data’s details. The sonification of images and movements aims to hypnotize the audience with various tricks, from noise cacophonies to otoacustic emissions - a physiological reaction to a couple of pure tones that makes the ear hair cells resonate and produce a tone.

The main sound sources have been selected from the archives of a free experimental sound internet library, curated and maintained by Thalamus Lab. The project launched an open call called Experimental Sound Lab and many artists from different countries contributed to create a collaborative library.


Visuals Stratum

The stage is designed by the visuals around and together with the performer, investigating the liminal zone through the use of live sketch techniques as well as morphing shapes modeling, audio-driven geometric patterns and pre-shot shadows characters appearences. The projections narrative takes the shape of a path, sinking into the black subconscious world, giving birth to a night creature, shaping its visions and then re-emerging to face the sharp cold touch of the light beam.

Over the whole performance experience, specific interactivity is being used to let gestures drive specific visual impressions. The interactive part of the visuals shows a complex system, where the interaction of a large number of individuals creates a new entity with a different behavior than just the addition of the single ones. This emergent behavior is modeled following the classic flocking rules written by Craig Reynolds in 1986 (separation, alignment and cohesion). To those we added a few more like a bounding area, a noise field or a perlin random walker.


Movement Stratum

The dancer’s torgue, bend, twisting and qualities of movement is the consequence of the mind directing the body’s reactions on/into the audiovisual environment. In THÆTA, the movement is focused on the embodiment of a character which is in contact with light and dark shadows, traveling through the hypnogogic state via an (imagined) Theta wave state. The choreography on it’s own is a movement map written through common brainstorm and then broken down into sections either with specific set choreography and/or an improvised score sometimes employing the Atavistic Technique.




credits:

Hen Lovely Bird : creative direction, movement writer / 

Alessandra Leone / creative direction, visual content / www.alessandraleone.com

Davic Nod / sound project / http://www.davicnod.com

Thomas Van Ta / creative code / www.thomasvanta.es

Giovanni-Marco Zaccaria / wearable sensors design & development

Jeanette Bruneau Rossow / costume design / http://www.treches.com/



Thanx to:

B-Seite festival crew
Dario-Jacopo Laganà // photography
Oriol Pastor //creative coding
L'estruch MediaLab - Sabadell

Audio contributors: Felix Blume,Jovica Storer, Dave Pape, Tessa Elief, Dizzy Banjo, Suonho, PJCohen, Virotic, Gabriela Parra, Freed, SubFeld, Sandyrb, Richard Frohlich, Batchku, Patchen, Than van Nispen, Melack, Marco Madia, PoisedToGlitch, Spt3125, Nirtana, Lost Chocolate Lab, J. Simon van der Walt, Koops, Milo, ERH, AlienXXX, Daniel Blinkhorn, Pluja de Metall, Katarrhaktes, Jef Aerts, JQR, David Flood, Kyle Evans, M. Wissar, Toko Okuda // http://www.thalamuslab.com/experimental-sound-lab



Special thanx go to the people who have been contributing to our crowd funding, supporting the production costs for the piece.


with love,
Tina Zimmerman
Wolfram Lakaszus,
Lisa and Jerry Hicks
Garth Webb
Alexandros Drymonitis
Alison Colman
Carly Pick
Margery Fairchild
Daria Kaufman
Gautam Agarwal
Savannah Lees-Haley
Michael Jenkins
Susanne Kirchmayr
Donna Larson
John and Jo Larson
Cio Dorbandt
Han Van Acoleyen
Mumu Mariane Charline Hernandez
Brianne Crabtree
Audrey Panven
Ian Smith-Heisters
Claudia Frickemeier
Tommaso Leone
Judy Kaufman
Helga Jäckel
Mary Franck

and our Private donators, of course.