Durante el encuentro de Cádiz, las intervenciones de los relatores de cada una de las mesas de trabajo fue grabada con el objetivo de establecer un relato en audio de las discusiones y los acuerdos a los que se llegó en cada mesa de trabajo.
Escuchar los archivos de audio.
Hello dance-techers,
Here is the page with the most popular content of this week and also please read the last week message.
http://www.dance-tech.net/leaderboards
As you can see in the navigation menu, we have added some features to the regular social media functionality.
Here is the new feature of the week:
Your LIVE video channel...
Yes, all dance-tech.net members can now use the network for LIVE video broadcast in your own LIVE video channel automatically embedded in your account.
Broadcast your rehearsals, performances, lectures and your experiments on dance-tech.net.
We have established a partnership with USTREAM.TV that allows you to create a free or professional broadcasting video channel that will be embedded in the network and have its own URL.
Your own LIVE video channel on your profile page!
In this way each member of dance-tech.net becomes a potential broadcasting producer.
More than 4000 potential providers of live content!You can use the network to share with friends and directly re-post in Facebook and Twitter...
Just in few clicks!
be part of the LIVE video revolution for the arts!
Let's innovate together...
To create your own USTREAM.TV channel:
1.-Log in to the network, go to the tab "My LIVE video channel" in the main menu and follow prompts.
2.-You may use a USTREAM.TV channel that you have already created or create a new one.
If you want your channel to show in your profile page: go to the "settings" in your profile page There you can select to show the channel in your page and place it anywhere in the page.
It will show at the lower part of your profile page by default.
You always will be able to see your channel or direct your viewers to the URL of "My LIVE video channel" page and also to the channel in your profile page if you have defined so in the settings.
See channel on Marlon Barrios Solano page:
See channel on "My LIVE video channel page
Let us know when you create your channels to announce it...
Happy LIVE video streaming.
Marlon
marlon@dance-tech.net
Disclaimer: dance-tech.net does endorse the content or opinions expressed within the USTREAM channels created by its members. Members must follow the USTREAM terms and conditions. As in any section the network, each member is responsible of the copyright clearance of the published or broadcasted material. Dance-tech.net does not get any moneys from adverting layered on the USTREAM free channels nor from USTREAM.TV
Erin Jonhson and I are working on a new piece called "Bobinetting" for the ZERO1 Biennial in San Jose this January. More information to come soon, but until then:
Bobinetting is the contemporary appropriation of an anachronistic feminist device. In 1832 French ballerina Marie Taglioni dawned the first tutu to dance the ballet La Sylphide. The tutu is made of tulle, light fabric that consists of strong hexagonal stitching. The light and strong makeup of the dancing skirt allowed for Taglioni to move around the stage more freely and to jump as high as her male counterparts. Since the nineteenth century the tutu and its characteristic tulle technology has become the iconographic symbol of the female ballerina as sexual object. Bobinetting explores the way that technological prosthesis can simultaneously empower and objectify the body. What is technology and what does it do to our identity? This performance is a new media artwork for which tulle is a movement sensor. By way of stripping digital devices from the performance environment we focus on the physicality of the human body as it has always interacted with objects. During a time when new media devices are often staged as trendy fetish objects, we take away the devices to think metaphorically and historically about bodies, movement sensors, and prosthetics. Bobbinetting is a prosthetic dance between tulle netting and human agent.
Ya ha pasado un mes desde la celebración del encuentro en Cádiz y seguimos recibiendo feedbacks de personas participantes en el mismo.
Cristina Riera fue relatora en una de las mesas de trabajo de la sala Colaboración Público-Privada. En su blog http://delirandounpoco.wordpress.com, publicó un post de valoración del encuentro bajo el título Un ejemplo de práctica institucional colaborativa y abierta en el que reflexiona sobre MOV-S como un experimento en diferentes capas.
- Link al post.
- Pdf del post (16/7/2012).
También, y bajo el título Metodologías colaborativas en cultura #Movs2012, ofrece una imagen con conclusiones básicas sobre metodologías colaborativas en cultura y el papel del gestor cultural a propósito de MOV-S 2012.
Después de un primer mapa visual que incluía conclusiones sobre el encuentro, Marta Ardiaca en su blog http://temptatives.wordpress.com comparte un post titulado #movs2012 ideas para cultivar y un mapa a partir de su experiencia como relatora en la sala Movilidad y visibilidad.
- Link al post.
- Pdf del post (16/7/2012).
Susana Serrano, también relatora en la sala Movilidad y visibilidad, comparte un post titulado Cuerpo, laboratorio, resistencia...//reflexiones MOV-S en su blog http://susanaserrano.cc.
- Link al post.
- Pdf del post (16/7/2012).
Margarida Troguet, directora del Teatre L'Escorxador de Lleida participó como relatora en la sala Sostenibilidad de las prácticas artísticas. Nos ha hecho llegar sus reflexiones sobre la programación artística y una serie de imágenes que contienen conclusiones de la mesa 7.
- Pdf del artículo.
(Haz clic en las imágenes para aumentarlas)
Message Thursday
July 12th 2012
Hello dance-techers,
I would like to thank you for all your ongoing contributions with dance-tech.net and dance-tech.tv
The projects keep growing and evolving with your contributions that nurture the platforms themselves, content productions and special collaborations/partnerships.
I would like to invite you to use dance-tech.net for developing your own on-line network community. I suggest to include it on your online strategy and you will benefit form the the engagement of a community of practice focused on experimentation, open knowledge and innovation in the body based artistic and research practices.
Dance-tech.net will be emphasizing decentralization with a totally distributed and horizontal approach for the presentation and featuring of content.
Therefore:
1.- Chronological order
All the content by the community will be featured based on chronological order in all the pages, including the home page.
2.- You as co-curator
All the dance-tech NEWS will only be sent one a week and will highlight the most popular members and content of the week. The site will self-organize based on users participation. Your participation will make you more visible.
You can participate in many ways, with any kind of media content. You can automatically SHARE in Facebook or Tweeter all you dance-tech posts. This helps also to spread the word a about this project.
The dance-tech NEWS email email will be sent on Thursdays.
It is your participation that determines the content of the newsletter. We all determine what matters!
We are all curators!
NOTE: You can opt out to receive these mails in your settings/email section of your profile. Here you can customize all the email aspects for your account.
3.-Please, don't send me press releases about events for me to post them. Post them yourself and move them in the social network platforms. That makes to content more useful.
It is about collaborative platforms.
dance-tech.net can be used for PR and marketing purposes but you are in charge.
An please, use the real dates of the events. Events with dates implying a duration of more than 8 weeks will be deleted. Respect your peers!
4.-About dance-tech.net:
Here you can find a description of the dance-tech projects and other collaborative opportunities.
http://www.dance-tech.net/page/dance-tech-exploring-digital-networks-as-medium\
5.-Donations are VOLUNTARY
We have put in place an automated monthly donation system integrated with the sign-up and sign-in functions for the dance-tech.net, yet:
ACCESS REMAINS FREE.
You will be now reminded that all the dance-tech interactive projects are supported by generosity of its users
http://www.dance-tech.net/profiles/blogs/important-automated-donations-system-launched-in-september-2011-t
Your donation does not impact your visibility in the site!
If you have any suggestions or would like to get more involved in this project please, email marlon@dance-tech.net
have a great weekend!
Marlon
Plataforma CRIM, Festival Escena Doméstica, #ccahora o Graner fueron algunos de los proyectos que se presentaron en el marco de MOV-S. En este vídeo podéis ver entrevistas con algunas de las personas que hablaron sobre ellos.
María Ptqk, metodóloga del encuentro MOV-S, quiere compartir con todos vosotros la experiencia #10penkult. Decálogo de prácticas culturales de código abierto. Organizado por Susana Serrano, tuvo como participantes a algunos de los relatores que trabajaron en Cádiz (la misma Ptqk, Jaron Rowan, Kamen Nedev...).
Pedro Soler, también presente en el proyecto, ha organizado uno en La Caldera de Barcelona, que se está desarrollonado estos días. Podéis seguir el proceso en http://www.tea-tron.com/lacaldera/blog/.
Guillermo Heras nos ha hecho llegar un artículo en el que reflexiona sobre el encuentro y lanza una serie de ideas al sector que pueden ser interesantes y útiles a la hora de encontrar alternativas a los problemas y cuestiones actuales.
Pdf del artículo.
Los metodólogos María Ptqk, Ainara Martín y Rubén Martínez explican las estrategias y metodos utlizados en los grupos mesas de trabajo durante el encuentro en este vídeo realizado por Marlon Barrios en el marco del proyecto Meta_media Lab.
20th Workuba 2013, Havana, Cuba (International Modern & Afro-Latin Dance Workshop)
February 9 – 17 / 2013
Workuba brings together the various dances of the Americas that have their roots in traditional African rhythms and dance, and blends these influences with Modern Dance, which the Program considers to be the key elements of the "complete dancer". Workuba makes the difference! We offer you a unique opportunity to experience modern dance with a latin flavor in a workshop that has as its historical setting Havana City.
Location: America Theatre, 253 Galiano Ave. Centro Habana, Havana, Cuba.
GENERAL DIRECTOR: Ms. Marta Bercy (Modern & Afro-Cuban dance Master)
Classes to be offered in the Workuba Latin Dance Workshop:
Afro-Cuban Folklore, Rueda & Cuban Salsa, Modern Dance, Ballet, Cuban Rumba, Tango and
Milonga, Hip-Hop, Salsa Los Angeles.
PERFORMING ARTS WORKSHOP: Theatre and Voice and Diction.
CLASSES SCHEDULES: (Every Day) 9:00am to 12m/ 1:30pm to 4:00pm.
FINAL PERFORMANCE: February Sunday 17 – 5:00pm, America Theatre.
FEES: 300. U$D. The participation fee includes Workshops, Performances and Certificate.
REGISTRATION: Saturday February 9 from 8:30a.m. to 10:00a.m - America Theatre.
E-mail: tedancari@gmail.com
Hotel Reservation: Ms: Estrella Medina – eventos5@paradis.artex.cu
Workuba Representative in Cuba: Ms. Maria Elena Monet - (+537) 832-8770
Marta Bercy
General Director
4534 Corrientes Ave. Buenos Aires City. Argentina.
Tel: (+ 54 911) 4504- 4115
E-mail: tedancari@gmail.com
Website: http://www.tedancari.com
Recogemos algunas aportaciones, reflexiones e ideas que han ido surgiendo en redes sociales y blogs a raíz del encuentro de hace un par de semanas en Cádiz.
En el blog www.prototyping.es se inició un interesante debate a partir de un post de Adolfo Estalella sobre la metodología utilizada durante los días de MOV-S 2012. Algunos de los participantes del encuentro en Cádiz entraron en el debate con aportaciones a tener en cuenta.
- Link del post
- Pdf del post (29/6/2012)
Por su parte, Iguazel Elhombre, también reflexionó, de una manera más personal sobre la experiencia.
- Link del post
- Pdf del post (29/6/2012)
Marta Ardiaca, colgó hace unos días en su cuenta de Twitter el siguiente mapa sobre algunas de las conclusiones a las que se llegaron en la mesa de trabajo en la que participó.
También en Twitter, Susana Serrano compartió un texto de Suely Rolnik titulado "El ocaso de la víctima".
- Link al artículo
- Pdf del artículo (29/6/2012)
Ainara Martín nos ha hecho llegar grabaciones que realizó en la sala "Colaboración Público-Privada" con las conclusiones de los relatores.
Queremos compartir con vosotros el resultado de los dos días de trabajo en comunidad que tuvo lugar durante el encuentro.
Fotografiamos todos los murales que se realizaron como resultado de las discusiones en las diversas mesas de trabajo. Esperamos que estas imágenes sean una herramienta útil para vosotros (las encontraréis numeradas del 1 al 111).
Ponemos a vuestra disposición las conclusiones que presentaron los metodólogos María Ptqk, Rubén Martínez y Ainara Martín en el acto de clausura de MOV-S 2012 y el audio del acto.
Submissions for POOL are still possible until July, 14th on
POOL is a recurring format for dance- and animation-film. The aim is to create a platform for dancers, choreographers, directors, artists, organizers and other interested people. POOL offers space for a mutual exchange of experiences, developing and advanced training, and presentations prospects. It`s a platform for those kinds of films, which picture dance not as a simple documentation, but more as a creative piece of art, using cuts and several other techniques for creation. We also like films which include every kind of non-dance movement in choreography. Moreover biographies of creators are less important or whether it`s a high or low budget film.
Screening: 13th-16th september 2012 at Dock11, Berlin
Workshops: 3rd-23rd september 2012 at Eden*****, Berlin
Incorporamos a nuestra base documental el diseño de fichas que se utilizaron durante el encuentro como base para el trabajo en cada una de las mesas.
Documento en pdf.
Tonight I will perform at St. Marks Church in Dagmar Spain's YELLOW IS NOT GOLD. Will I be able to replace moments in the piece that feel amorphous with those that feel potent and compelling? Daniel Nagrin once advised his choreographic students never to verbally share the basic impulse for your choreography, save the urge to share through your dance. Guard it as your secret. Lacking the toolbox of final cut pro to shape/morph/frame that image, I'm left to bumbling around in the dark room of my mind. With a video dance, one could simply show the idea, find it or create it, manipulate it. But for a live dance, the image is the impulse behind the choice of speed, shape, flow, a guide perhaps for the improvisation.
Perhaps awareness of physical sensations triggers thoughts which conjures images..
The altered state of dancing can interfere with clear thinking on how to transfer that pleasure, that escape from the daily norm, to the viewer. How does one dance to heat the blood in the viewer, make them feel their breath in a singular way. Lifting one's eyelids up for the metaphorical kiss.
Comenzamos con el relato de lo que tuvo lugar entre los días 14 y 17 de junio en Cádiz en el marco de MOV-S 2012 y lo hacemos con la apertura de MOV-S el día 14. Intervinieron Pepe Vélez, director del festival Cádiz en Danza, Natalia Balseiro, directora de MOV-S 2012 y María Ptqk, metodóloga del encuentro. Despúes de esta introducción, Raúl Sánchez Cedillo presentó el proyecto Fundación de los Comunes. Condujeron el acto Berta Sureda y Jesús Carrillo, de MNCARS.
Ponemos a vuestra disposición el archivo en audio
Los inscritos a MOV-S 2012 ya tenéis a vuestra disposición el cuaderno con toda la información relativa al encuentro que tendrá lugar la semana que viene en Cádiz (calendario de trabajo, metodología, lista de relatores y conductores y actividades paralelas).
El pasado domingo 6 de mayo, la Plataforma CRIM (Creadores Independientes en Movimiento) organizó un encuentro para recoger informaciones y opiniones respecto a uno de los temas que se debatirán en el marco de MOV-S. Nos han hecho llegar un vídeo resultado de esta reunión informal. En él, una serie de artistas expresan sus inquietudes y puntos de vista alrededor del tema de la visibilidad de las propuestas artísticas.
Untitled from pere faura on Vimeo.
Welcome to Archived'it
Launch Date: 12th June 2012 at Midday archivedit.org
Back in summer 2011 I pitched the idea of working with Dartington Hall Trust’s Archive Collection to create a web application that would encourage an online audience to engage with the archive creatively. A year on, and with the help of filmmaker Alice Powell, web developer Luke Shumard and composer Ólafur Arnalds, Archived’it is finally here!
We’ve been working with a silent black and white piece of archive footage titled ‘Dance on Steps’ (1934). The film features the enchanting dance and mime student Teda de Moor performing angular and bound movement, swaying back and forth as she progresses up constructed stairs on a stage. Cutting in at just under a minute we set ourselves the task of giving ‘Dance on Steps’ a new lease of life.
I taught myself Teda de Moor’s movement, played around with reacting to it as if she were in the studio with me then created my own choreographic response. Alice filmed the material in a green room then incorporated my response into the original footage.
How it works
The HTML5 web application allows the user to create their own version of ‘Dance on Steps’ using the remixed content. Using a + interface concept, Archived'it has been created purely from open source technology. Ólafur’s music will automatically attach itself to your film; so it’s up to you how much of the track you use.
The idea is once arranged to your liking, save and share!
One response to digitised archive
Jaron Lanier states in his inspired book ‘You Are Not A Gadget’ (2011)
“Ironically, advertising is now singled out as the only form of expression meriting genuine commercial protection in the new world to come. Any other form of expression is to be remashed, anonymized, and decontextualized to the point of meaninglessness”
I’d like to think with Archived’it we have been able to find one way of ‘remashing’ with meaning. We have taken a piece of incomplete archive footage, the author lost to time, and deconstructed/re-imagined the 55 seconds of content into an artistic statement that has not only been informed by the past but responds to a digital future.
- Adrienne
