What does Jason Akira Somma’s installation “Phosphene Variations”  recently on exhibit at Soho’s Location One have in common with Snoop Dogg’s performance with Tupac this last April in Coachella? Both are take-offs of Pepper’s Ghost, a centuries old illusion popularized by John Henry Pepper in 1862 in which an image is bounced off the floor onto an invisible screen.

Beyond that, the similarity ends. The music producer Dr. Dre sprinkled his gold dust on the California digital effects company Digital Domain to make possible Snoop Dogg’s appearance with the prolific rapper who was killed in 1995.  The acclaimed event added little to an old trick other than context, where as Jason Akira Somma created a new chapter for dance presentation and preservation. Supported in part by the Rolex Mentor and Protégé Arts Initiative, his liquid wall created with a start-up company, a horizontal flow of mist in which images can dance, is, as Le Figaro wrote, “a true revolution…stupefying poetry, humanity and invention.”

When he was ten, Somma saw a floating head, engineered with the method behind Pepper’s Ghost, in a “haunted house.” Little did he know that encounter would determine the direction of his artistic life. He re-created the effect while a dance student at Virginia Commonwealth University, which has a fertile dance film program led by Martha Curtis. After much back and forthing between dance and visual arts, Somma realized dance is a visual art. His approach gelled; his career zoomed, winning him accolades in both US and Europe and the coveted Rolex Mentorship with Dutch choreographer Jiri Kylian.

Somma has the instincts of a magician inclined to play with dual realities and those of an engineer who solves problems.  Somma  used 5 infra-red cameras for his multi-media show commissioned by Lyon Opera Ballet. Why infra-red, I asked him. He replied, "I like to incorporate science into my work that exposes other realities around us that we (can't)  perceive. The one in which our naked eye can see and the one in which technology can see. I want to remind the world of all the possibilities and things that surround us at all points and time."  

Dance legends Mikhail Baryshnikov, Carmen DeLavallade, Robert Wilson, Bill Shannon, and Jiri Kylian, among others, appear in the liquid walls, moving in a space no wider than the wings of your arms. 

Imagine the chance to prepare your own ghost. Who can resist that? Sporting a waxed moustache, Somma (seen levitating left) set up with “Phosphene Variations” a vertical playground in which the viewer can reach out to touch a ghost who vanishes, only to be immediately replaced by another.

Location One, 26 Green Street, NYC presented “Phosphene Variations” September 12-October 3, 2012.

Closed earlier than schedule due to technical difficulties.

Soledad Barrios dares to touch us, to appeal to our empathy, and evoke an image of courage despite impossible circumstances. This ‪Madrileña‬, acclaimed by Alastair Macauley to be one of the greatest dancers of any genre, seems now to transcend dance all together. She commands our attention, emotionally and spiritually. She could be singing an aria or standing for a painter wrestling with a portrait of dignity in the face of death. 

When I first saw Soledad perform, Noche Flamenca was still an idea yet to be conceived. She had come to perform in Santa Fe, New Mexico at the invitation of Martin Santangelo, her current husband, father of her two children, and artistic director of Noche Flamenca. Martin was performing then for Maria Benitez Company, along with Alejandro Granados, a dancer from a family of flamencos, known for his relaxed, eccentric wit who is performing this week in Noche Flamenca. Almost twenty years ago now, Soledad was fast and feisty. Her fury was infectious. It was all I could do to keep from challenging her to a fight back-stage. In-your-face, raw, and scrappy, she had an erotic edge. 

Perhaps Soledad was just picking up the trend in flamenco at that time, which was to go as fast and punk as possible. But over time, she has sanded off those rough edges, matured her intense dance with elegance and and restraint. For a time, she moved with an archness that was playful. Slowly her presence became her masterpiece, more than her steps or style, her look, as precise as those are. Now a shade of raw is re-emerging. Miraculously, her performance of the flamenco "palo" Solea seems to bypass a personal statement to speak for anyone who endures pain, alone.

Never having witnessed Sarah Bernhardt, I can't compare Soledad to that legend but I can bow to a choreography and presence that dares to tackle tragedy. The overlapping of the singers at the beginning of her solo continues to haunt me with its poignancy. I wonder what Pina Bausch would have thought of her performance, what notes she would give her or further challenges.

Noche Flamenca continues at the Joyce Theater through Sunday, September 30th.

The arts are coming to you. Merián Soto 's SoMoS is part of a growing international movement to move major performing arts events out of the theater and into the neighborhoods where people live. SoMoS goes one further by transforming a city-block sized parking lot, the ultimate in urban deadspace, into a vibrant and immersive performing arts experience.

This exploration of the seasons and our physical relationship to the natural world works on both the gigantic and intimate scales. There will be large geodesic tents within which audiences can sit and view dancers and be surrounded by quadraphonic scoundscapes of nature in extreme close up, exposing the minute details of the wind through trees, water rushing down a creek. Large projections of nature and of the performers shadows will be cast on the inside and outside of the domes as well as on the walls of buildings facing the parking lot. Dancers will also be outside performing branch dances.

Bringing this large-scale carnival of nature images, sounds, and movement to the parking lot at 5th and Huntingdon Streets is not without its challenges. "It involves careful planning. Equipment and materials have to be purchased, rented or borrowed, and stored. In terms of video and sound we need 14 projectors, 4 laptops, 20 speakers, etc. We are building a pipe and drape wall for projection," explains choreographer Merián Soto. "And we have to practice. Practicing in the parking lot is grueling. It's dirty and noisy and the cement is rough and hard. In the summer it was excessively hot, now the wind makes it cold. And at the same time it's intriguing to think what the event will be like. It's beautiful to see such an expanse of sky, and to connect with the neighbors when we're out there."

The branch dances are both intense and meditative, inviting audiences to become intimate with the performers. As dancer-collaborator Olive Prince describes,  "It is like taking a walk in the woods where you can take the time to stop and watch the slow evolution of the leaves moving in the wind or you can wander off the path to what interests you." She goes on to explain, "The audience has the opportunity to wander through a world that presents a sensory experience on nature.  You will see dancers moving with massive branches, tents that capture videos of each season, bodies moving in response to the environment that is created, and leading to an overall experience that the audience can immerse themselves in."    

SoMoS is presented by Taller Puertorriqueño's series Café Under the Stars: Spotlighting the Arts in El Barrio. Taller is using the parking lot, which will be the site of Taller's future home. Taller's director Carmen Febo explains, "Taller is in the middle of a capital project to build a new state of the art cultural center in that location. We felt that using the space to bring art to this community would plant the seeds for the new Taller as a cultural hub, as a place where people gather to celebrate the art of our community."

The arts are coming to you. Merián Soto 's SoMoS is part of a growing international movement to move major performing arts events out of the theater and into the neighborhoods where people live. SoMoS goes one further by transforming a city-block sized parking lot, the ultimate in urban deadspace, into a vibrant and immersive performing arts experience.

This exploration of the seasons and our physical relationship to the natural world works on both the gigantic and intimate scales. There will be large geodesic tents within which audiences can sit and view dancers and be surrounded by quadraphonic scoundscapes of nature in extreme close up, exposing the minute details of the wind through trees, water rushing down a creek. Large projections of nature and of the performers shadows will be cast on the inside and outside of the domes as well as on the walls of buildings facing the parking lot. Dancers will also be outside performing branch dances.Bringing this large-scale carnival of nature images, sounds, and movement to the parking lot at 5th and Huntingdon Streets is not without its challenges. "It involves careful planning. Equipment and materials have to be purchased, rented or borrowed, and stored. In terms of video and sound we need 14 projectors, 4 laptops, 20 speakers, etc. We are building a pipe and drape wall for projection," explains choreographer Merián Soto. "And we have to practice. Practicing in the parking lot is grueling. It's dirty and noisy and the cement is rough and hard. In the summer it was excessively hot, now the wind makes it cold. And at the same time it's intriguing to think what the event will be like. It's beautiful to see such an expanse of sky, and to connect with the neighbors when we're out there."

The branch dances are both intense and meditative, inviting audiences to become intimate with the performers. As dancer-collaborator Olive Prince describes,  "It is like taking a walk in the woods where you can take the time to stop and watch the slow evolution of the leaves moving in the wind or you can wander off the path to what interests you." She goes on to explain, "The audience has the opportunity to wander through a world that presents a sensory experience on nature.  You will see dancers moving with massive branches, tents that capture videos of each season, bodies moving in response to the environment that is created, and leading to an overall experience that the audience can immerse themselves in."    

SoMoS is presented by Taller Puertorriqueño's series Café Under the Stars: Spotlighting the Arts in El Barrio. Taller is using the parking lot, which will be the site of Taller's future home. Taller's director Carmen Febo explains, "Taller is in the middle of a capital project to build a new state of the art cultural center in that location. We felt that using the space to bring art to this community would plant the seeds for the new Taller as a cultural hub, as a place where people gather to celebrate the art of our community."

FOR PHOTOS AND MORE INFORMATION PLEASE CONTACT Michael T. Roberts, Project Manager    Email: mtjr12281@gmail.com

INTERVIEWS ABOUT SOMOS WITH MERIAN SOTO AND HER COLLABORATORS CAN BE FOUND On The BranchDances Blog: branchdances.blogspot.com

Video vortex with contemporary exploration on the performance of motion and embodiment
Lecture discussion by Marlon Barrios Solano as a part of a research residency at ACCAD

http://accad.osu.edu/

Preopared for the Intermedia class lead by Norah Zuniga-Shaw
September

15th to 30th September 2012

NOTE:  you can watch  it in YouTube here

https://www.youtube.com/playlist?list=PLBCE930559C85C7FC

EMERGING CLOUD OF WORDS

Collaborative tagging of the lecture.

Participants created collaboratively a list of words that were emerging from their experience of the presentation; sampling words, sensations, ideas, associations, etc.

Created with online software:

http://www.wordle.net/

The the size of the font represents  the frequency of the words. Bigger font = more frequent.

http://youtu.be/vHVOuOXgsRY

CALL FOR APPLICATIONS

DanceDigital is pleased to announce a new artist development scheme that will be run in partnership with the University of Bedfordshire.

DanceDigital is currently looking to work with a cohort of artists in the development of a festival that will be presented in partnership with the University of Bedfordshire in April 2014. DanceDigital will recruit new Associate Artists and new Catalyst Artists, who will be given opportunity to develop new work through a support scheme that includes mentoring by DanceDigital Artistic Fellows, space in kind, a cash contribution and presentation in an international festival event, which marks culmination of the scheme.

DD2012Call for Applications

ArtistApplicationForm2012

Digital technologies have created new, and now accepted, modes of production and have repositioned dance performance as a multi-sited, digitally mediated art form. Investigation of our current theme, Mobilities offers opportunity to consider how digital technologies transform experiences of the mobile in new choreographies that may be located on stage, online or on the ground.  We are interested in the distinct performance vocabularies and innovative modes of participation that are enabled by digitally embedded choreographic processes.  We are also interested in the mobility of collaborations across disciplines that bring together the expertise, vision and innovation of artists, technologists, scientists and users in the creation of new art works.

If you are interested in developing work that moves audiences in new ways and creates touching human experiences by harnessing choreographic practice and digital innovation, then we would like to hear from you.  We are particularly interested in proposals that address the interactivity of performers/audience and technology, and from those who are interested in developing new high quality performance work through interactive methods.

Some Bursaries have now become available for this degree so we are re-advertising

**There are still some available places on Brunel's MA in Contemporary Performance Making'**

The MA in Contemporary Performance Making at Brunel University is a combination of taught and project work; it is 70% practical with a strong underpinning of training in methodologies and contextualisation, and includes a placement with an artist or organisation.

It is taught by a world-class staff of practitioners and academics.

The degree covers a range of specialisations in performance, including Directing, Solo Performance, Writing for Performance, and Digital Performance, and student-initiated work. Recent degree shows have also included film, installation, object theatre, dance and other time-based media.

The MA can be studied full-time (one year) or part-time (2 years). Fiona Templeton Convenor, MA in Contemporary Performance Making School of Arts Brunel University UB8 3PH email: fiona.templeton @brunel.ac.uk or email: susan.broadhurst@brunel.ac.uk (Temporary MA Convenor for term 1 2012-13)

August 27, 2012—Columbus, OH—
Palissimo, an adventuresome dance theater company based in New York, will mount all sections of its enigmatic and atmospheric The Painted Bird trilogy as
a complete sequence for the first time, on two different stages. Co-commissioned by the Wexner Center, The Painted Bird trilogy’s world premiere is supported by a Wexner Center Artist Residency Award. Performance dates are September 12, 13, and 16, 2012.
Choreographed by Czech-born artistic director Pavel Zu!tiak, The Painted Bird trilogy is composed of three multimedia works (with live music by composer Christian Frederickson and video) made between 2010 and 2012, inspired by Jerzy Kosi!ski’s novel of the same name. Zu!tiak's ambitious, emotionally charged project excavates the tale's themes—identity, otherness, displacement, and transformation—in three uniquely staged performance events. Community volunteers will participate in one section of the trilogy.
The Painted Bird trilogy makes use of the two flexible and intimate venues at the

Wexner Center: the Performance Space and the Black Box on Mershon Stage, set up in novel configurations. Audience members can choose to immerse themselves in a pairing of two sections of the trilogy, or come on the final day to experience all three parts, with an optional box supper available from the Heirloom café at an additional charge of $10. (Meals must be ordered in advance.)

Notes Charles Helm, director of performing arts for the Wexner Center, “Being able to match innovative artists’ needs with our range of resources is at the heart of our creative residency program’s mission. For Palissimo, with its expanded concepts in dance theater for The Painted Bird trilogy, we are able to make full use of our two venues set up in novel ways with different seating configurations or as a site for performance/installation. Working out the technical logistics and ways that this can be mapped out for both performers and audiences will greatly assist the company as they perform the three-part program on tour. Pavel Zu!tiak and his collaborators in Palissimo are among those who are committed to remaking the dance experience for today, and it’s been a pleasure to work in partnership with them to realize this project.”

All three parts will feature live music composed by Frederickson, known to Wexner Center audiences as a former member of the acclaimed chamber rock band Rachel’s; Frederickson and other musicians will perform live music in each of the three sections. Palissimo is dedicating the premiere of The Painted Bird trilogy to the memory of Jason Noble, another former member of Rachel’s who performed regularly with the company, but who recently passed away after a long battle with a rare form of cancer.

The first section, Bastard, draws from Kosi!ski’s novel, in which a young boy making his way through war-time Eastern Europe watches as a brilliantly painted bird is killed by its own flock, which mistakes it for an imposter. Performed by the award-winning Slovak dancer Jaroslav Vi"arsk", Bastard was called “searing” by the New York Times. Local volunteers, enlisted from a variety of sources, including the Wexner Center usher corps and volunteer docent program, as well as students in the Departments of Dance and Theater at Ohio State, perform in this first section. More volunteer dancers—particularly men—are still needed for the production. Rehearsals are scheduled on Sunday, September 9 from 1–6 pm and Monday, September 10, from 7–10 pm. Call time for the September 12 performance is 5:30 pm; call time for the Sunday, September 16 performance is 1:30 pm. Interested volunteers can contact Sarah Swinford at sswinford@wexarts.org, or by calling (614) 292-6190.

The second section, Amidst, is a performance/installation work that combines dance with visual art and video. The audience has the opportunity to move through an open space that includes a trio of live performers, as well as animated projections

which explore the juxtaposition of ideas such as past and present, real and virtual, memory and disappearance.

In the third section, Strange Cargo, co-commissioned by the Wexner Center, Zu!tiak has collaborated with Frederickson and fellow musician Ryan Rumery to tackle themes of refuge and home with an ensemble of four performers.
Observes the New York Times, “There is the sense that, with The Painted Bird, he [Zu!tiak] has found his material, and will be mining it for a long time to come.”

More information on The Painted Bird trilogy: http://www.thepaintedbird.org/main.html

beinghuman art residencies 2012

beinghuman runs art residencies in the beinghuman warehouse & abroad.

In 2012 we are working with Double Grammy Nominated, 1 Giant Leap, Granta Magazine’s Michael Salu & Wired’s Ben Hammersley.

We ran a week long residency in Galicia, Spain with artists Jeannette Ginslov, Nye Perry, Adrian Gierakowski, Maddi Boyd and Jane Shaw. We also run a regular night in Trangallan, Hackney, on summer break. Jeanette Ginslov, Nye Perry, Adrian Gierakowski,Maddi Boyd & Jane Shaw.

kathmandu art residency 2012

beinghuman will also be taking a very special, selected group of people on a  week long art & spiritual pilgrimage to Kathmandu during the International Art Festival: 21-27 November 2012

beinghuman director, artist Gaynor O’Flynn is curating the British Chapter of The Kathmandu International Art Festival 2012.

The Kathmandu International Arts Festival runs from November to December 2012 & features more than 100 artists from 75 countries.

kathmandu international art festival 2012

Turner Prize Winner, Richard Long has kindly agreed to patron the  event.  

Artist & Sculptor David Nash OBE, RA will also be exhibiting. Legendary music & arts photographer Kevin Cummins will be creating a site specific work during the festival. 

Gaynor will also be creating a site specific performance & installation on Boudhanath Stupa on the theme of this year's festival "Mind, Body, Earth”.

the journey of a lifetime

Participants will stay in a beautiful guest house run by a Tibetan monastery or a 5 star hotel. Learn about the culture of Tibetan Buddhism & the Sanskrit & Hindu roots of this sacred valley. 

With unique access to the artists, the rehearsals, festival talks, dinners & private views as well as visits to some of the hidden sacred sites of the valley.

The participants will experience the journey of a lifetime, forging artistic & spiritual connections to this unique, special part of the world. 

how to apply

beinghuman has been travelling to this part of the world for over 20 years & has the knowledge to introduce you to the finest Kathmandu can offer:

world heritage sites, galleries, sacred shrines, special people, you will be free to join in or explore alone, as you wish. 

For online info: http://www.beinghuman.com/residency__.html

If you are interested in joining us please send an initial expression of interest to Jeannette Ginslov

jeannette.ginslov@gmail.com

Tel: +45 26990363 From October 2012: +27 (0)73 373 9235

Tell us more about you, your loves & why you would like to come.

COSTS

The residency is going to be £1,200 plus VAT for a 7 day residency: 21-27 November 2012

Participants are responsible to get themselves to Nepal all their own airfares & taxis to & from airports etc, once there we cover bed, breakfast & eve meal & transportation to all official events during the residency. Included in the fee for thew residency.

What else do we provide for the fee:

Networking and future collaboration opportunities

A chance to work on a project with an outcome early on in 2013 -

Unique access to British artists

Unique access to private views, lectures, parties during KIAF

Opportunity to observe British artists at work during British Council masterclasses 

Opportunity to observe British artists at work during rehearsal process.

Unique networking opportunities with over 100 international artists.

Series of location trips to the cultural & spiritual highlights of the Kathmandu Valley.

Accommodation in a Tibetan monastery, don't worry beautiful cotton sheets, garden, hot showers BUT unique access to this ancient spiritual tradition.

VIP access to the final show on November 27th

Participants are responsible for any alcohol purchases

Plenty of time for self exploration of this incredible city

© 2012 beinghuman Ltd All Rights Reserved - Registered in England & Wales. 

Registered Number: 02827534 - Registered Address: beinghuman warehouse, 37 Lower Keyford, Somerset, BA11 4AR, UK.

SoMoS is a large scale event, with three geodesic tents transformed into performance spaces. Seasonal video- and audio-scapes are projected on and about dancers performing the hypnotic, branch dances—an intimate dance that follows the gravity and shifting balance of nature. Large shadows of the dancers are projected against the walls of the tents. Visible from the outside, these artful shadows create their own performance experience and yet another viewpoint for audiences. The fourth performance space will be the outdoors, with giant video projections of nature in extreme close-up upon the walls of adjoining buildings.

Friday Oct 12, 2012.  Two performances at 7:15 and 9PM in the  parking lot on 5^th and Huntingdon Streets, Philadelphia. 19133  Presented by Taller Puertorriqueño’s Café Under the Stars.   
FREE!

More Info here

BA Dance, Context, Choreography (degree: Bachelor of Arts)
Start: winter term 2013/14 (October 2013)
Application deadline: Sat, December 1st, 2012 to Tues, January 15th,2013
Admission exams: to be announced

MA Solo/Dance/Authorship (SODA) (degree: Master of Arts)
Start: summer term 2013 (April 2013)
Application deadline: Mon, October 1st, to November 15th, 2012
Admission exams: to be announced

MA Choreography (degree: Master of Arts)
Start: winter term 2014/15 (October 2014)
Application deadline: Sun, 1 December 2013 to Wed, 15 January 2014
Admission exams: to be announced

A Choreographer’s Score: Fase, Rosas danst Rosas, Elena’s Aria, Bartók

is a conversation in which the Belgian choreographer Anne Teresa De Keersmaeker offers the performance theorist and musicologist Bojana Cvejić wide-ranging insights into choreography and into the making of the four early works (1981-86). A narrative self-analysis is prompted by questions aimed at uncovering methods and intuitions from the formative years of this distinguished choreographer. Where did the first dance movements come from? How were intricate structures conceived, and how did the joyful invention of counterpoint and performing styles take place?

De Keersmaeker reflects on her memory of reasons and chance-events that determined choices of music and movement, spatial and lighting architecture. She seeks to illuminate what guides the “organization of bodies and energies in space and time” in the four works that make up the basis for her choreographic œuvre.

Searching for a way to mediate the rich and diverse material that forms a choreography, De Keersmaeker and Cvejić create a compound score for Fase, Rosas danst Rosas, Elena’s Aria, and Bartók’s String Quartet No. 4. The score for each of the four choreographies combines a detailed verbal account, illustrated by numerous drawings, schemes, photos, and post- performance documents, with demonstrations danced by the choreographer, and excerpts from performances in which explanations begin to dance.

Available from May 6, 2012. Published by Mercatorfonds and Rosas ; 256 pages ; 4 DVDs English spoken, subtitled in Dutch and French ; 49,95€ ; available in English (ISBN 978 90 6153 541 6) and French (Carnets d'une chorégraphe, ISBN : 978 90 6153 538 6).

http://www.rosas.be/en/news/choreographers-score-new-publication-4dvds

AN INTERACTIVE EXHIBITION AT SCIENCE GALLERY, TRINITY COLLEGE DUBLIN EXPLORING THE VIBRANT VIBRATORY WORLD OF OSCILLATORS, OSCILLATIONS AND FEEDBACK.

Call for Proposals Science Gallery at Trinity College Dublin, Ireland is seeking proposals for an upcoming major exhibition OSCILLATOR

Call Opens: 4th SEPTEMBER Call Closes: 12th OCTOBER Exhibition duration: 7th FEBRUARY 2013 – 14th APRIL 2013

Calling all vibratory beings! Electron wizards, mega-nano-nauts, chemical visionaries, code infinitizers, pendular kineticists, sleep cycle sleuths, and feedback fetishists. OSCILLATOR is a curated exhibition exploring the vibrant vibratory world of oscillators, oscillations, and feedback.

This diverse, interactive show will feature installations and demonstrations ranging from cyclical chemical reactions and swinging bridges to out of control automated pricing schemes and el Niño. We are interested in oscillatory explorations from many different fields and genres, including chemistry, physics, astronomy, earth sciences, biology, mechanics, neurology, mathematics, logic, and the arts.

EXHIBITION OVERVIEW:

Oscillators are ubiquitous, both in human-made systems and in physical, biological, and informational processes. They arise, either by design or by accident, in the presence of interconnected parts and feedback paths. Sometimes they’re a critical component, essential to the correct function of a system, other times they might be a curiosity or a nuisance, or even a catastrophic force. The exhibition will use the idea of the oscillator to bring together a brain-shaking array of experiments, interactive activities, and artworks.

Potential oscillations include: self-oscillating chemical systems like the color/pattern generating Belousov-Zhabotinksii reaction and the mercury beating heart biological oscillators like the ubiquitous circadian rhythms found in nearly all lifeforms, the electric fields created by the ghost knifefish to aid in navigation and communication, the great synchronized choruses of various amphibians, and the complex rhythmic patterns found in human brainwaves oscillatory physical phenomena like the chaotic motions of coupled and multiply articulated pendulums, the marvels of self-assembling nano materials, and disastrous sympathetic resonance in bridges, and buildings geophysical phenomena like el Niño and other weather patterns, continental drift, and cyclical eruptions in geysers and volcanoes math/logic/CS procedures and techniques for creating and probing oscillations, like digital waveform generation, logical games, brain teasers and tautologies, and pseudo random number generators repetitive and oscillating systems used in music, dance, and the visual arts, like guitar feedback, pattern music, cyclical dance forms, and tiling patterns cultural feedback and oscillations like memes, fads, and sampling and reuse Curator and

Advisors:

Douglas Irving Repetto is an artist and teacher. His work, including sculpture, installation, performance, recordings, and software is presented internationally. He is the founder of a number of art/community-oriented groups including dorkbot: people doing strange things with electricity, ArtBots: The Robot Talent Show, organism: making art with living systems, and the music-dsp mailing list and website. Douglas is Director of Research at the Columbia University Computer Music Center and lives in New York City.

To submit to the OSCILLATOR open call you need to register on our Open Call site here. If you have any questions or need some help, feel free to email us at help@sciencegallery.com or alison.carey@sciencegallery.com

About Science Gallery: Science Gallery is a dynamic new model for public engagement at the interface between science and the arts which has rapidly achieved significant international profile since its launch in Dublin in 2008. Science Gallery is an initiative of Trinity College Dublin with support from the Wellcome Trust, Google, Dell, PACCAR, ICON, Intel, IBM and other partners. Since opening in 2008 it has attracted almost 1,000,000 visitors. Attracting a core audience of young adults aged 15-25 from diverse backgrounds Science Gallery ignites a passion for creativity through engaging, dynamic exhibitions and events on major themes ranging from Music and the Body and the future of water to the future of cities. These programmes bring science and technology into dialogue with art and design, and give young adults a taste of the excitement of cutting-edge research and innovation in a stimulating sociable environment. Five factors distinguish Science Gallery from existing models of public engagement with science and technology, including science centers and museums: Our flexibility – five dynamic, changing programmes per year, with no permanent exhibition; Our focus on 15 – 25 year olds as our core target audience bridging high school, university and early stage career; Our open call process – Science Gallery crowd-sources its installations and events on broad themes linking science, technology and the arts; Our fresh approach to connecting the university and the city – bringing university research groups, staff and students into dialogue with the arts and creative community and the public; and Our Leonardo Group – 50 inspirational individuals drawn from the local creative community of scientists, artists, engineers and entrepreneurs who feed ideas into the development of Science Gallery exhibitions and events. Following the success of Science Gallery at Trinity College Dublin and significant international interest in this new model of engaging young adults with science, technology and innovation, we received seed support of €1M from Google to launch the Global Science Gallery Network (GSGN), in partnership with leading universities located in urban centres worldwide, with the goal of establishing eight Science Galleries worldwide by 2020.

American Dance Festival Video

The American Dance Festival and Video Director Douglas Rosenberg are pleased to announce a series of videotapes, "Speaking of Dance," a project to preserve the history of Modern Dance Masters.

These tapes are invaluable for their preservation of our Modern Dance legacy-which has suffered from too little documentation. the dance sequences are marked by supple camera work and a sharp sense of rhythm and contrast."

Sally Banes, 
Dance Historian

Available for sale to colleges, universities, students and other interested in the history of modern dance, each piece contains interviews, performance and teaching footage, as well as remarkable stories recounted by the subjects about their lives in dance. Already completed are profiles of Donald McKayle, Lucas Hoving, Anna Sokolow, Betty Jones, Talley Beatty and others, four volumes of clips of some of ADF's best performances of the last few years and one volume of Video/Dance work created especially for the camera.

Other tapes are currently in post-production and will be released each fall. Titles will be added to distribution as they become available. Each tape is dubbed from a broadcast quality master, and is available in DVD or VHS, or PAL format. See order form for special ordering instructions.

"Dance documentaries are essential for teaching dance history. These videos by Douglas Rosenberg and ADF are of outstanding quality, an invaluable record of our dance heritage and exceptionally well-suited for classroom use."

Jenefer Johnson, 
Lecturer in Dance 
University of California, Berkeley

The tapes in this catalogue are already in the collections of hundreds of universities and colleges across the country, as well as the Dance Collection of The New York Public Library for The Performing Arts, The Hong Kong Academy of Performing Arts and the Laban Institute in London, England. The tapes are a living legacy of the history of modern dance and an invaluable asset in the classroom.