Desde Procura Aragón Iguazel Elhombre lanza tres conceptos clave para dar continuidad al trabajo en MOV-S: Red, roce y rasmia. También habla de los proyectos transmedia.
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hello dance-techers,
I have received some questions that are motivating me to clarify two important points:
-The DONATION System:
There is an integrated system that REMINDS you that dance-tech.net and .TV are projects that are supported by donations of its users/members.
So, I have integrated a system that REMINDS YOU about this with a prompter. It invites you to make a donation that is VOLUNTARY.
IF YOU DONATE 0.00, IT LETS YOU IN.
So, this is not a payment, but it reminds you that you have the opportunity of supporting this project covering the costs and to be able to keep it free and available for users that won't be able to to afford a membership fee.
I have noticed that most of the members that have complained, they have not read the explanation.
This is how it looks the window for donation:
See, that it is set to 0.00$,
and...
you may then show your support donating the desired amount.
More information here:
about enablers:
http://www.dance-tech.net/profiles/blogs/what-are-dance-tech-enablers
2.-Emails with the dance-tech news:
I would be sending some curated news at least once a week: they include relevant posts and announcements for the community.
You may opt out to receive this or any emails from the community changing your email settings. Go to settings>emails...
See screenshot:
Please, contact me or leave acomment if you have any question,
Marlon
Jeannette Ginslov – Artist in Residence at Medea Spring 2012
As artist in residence at Medea this Spring, Jeannette Ginslov will be researching and developing her ideas on “capturing affect with a handful of techne” within the framework of the AffeXity project. See the AffeXity blog for regular updates: affexity.org
Together with a team of researchers and students, Ginslov will be exploring and striving for a number things:
developing the technical requirements and skills for capturing affective choreographies embedded in cityscapes, using video, the web browser Argon and mobile networked hand held devices.
amplifying and exploring affect through dance embedded within city locations, examining “patterns of relations between people, technologies, and architectures…ebbs and flows of affect…created and sensed by bodies in motion” (Susan Kozel).
exploring a phenomenological and collaborative approach to the choreography, the capture and reception of this interdisciplinary art form.
researching altermodernism, “the internet of things” and what art critic Nicolas Bourriaud’s calls a “relational aesthetics” or intersubjective encounters, where spectators are invited, even challenged to engage with a “participatory art work in which meaning is elaborated collectively rather than in the privatized space of individual consumption.” (Claire Bishop: Antagonism and Relational Aesthetics, 2004).
subverting the commercial use of augmented reality usually associated with QR codes and downloads, by focusing on the notion of affect and dance embedded in cityscapes: a more artistic endeavor.
democratizing the use of, networking and sharing the research and technology with other screendance practitioners or interdisciplinary artists at conferences and seminars.
Partnering with Georgia Tech, BTH and masters students
This will be phase two of the collaborative project AffeXity, with Susan Kozel (Medea), Jay Bolter (Professor of Media and Technology, Mixed Environments Lab at Georgia Tech, US), Maria Engberg (Blekinge Institute of Technology, Sweden, and Georgia Tech, US), Timo Engelhardt (Masters student Malmö University Computer Science Department: Media Software Design), Nachiketas Ramanujam and Sanika Mokashi (Students at Georgia Tech USA), Wubkje Kuindersma and Niya Lulcheva (Dance artists, DK).
Phase two of the AffeXity project
AffeXity is a two year long research project. The first phase of research was conducted during my residency at the Laboratorium, Dansehallerne Copenhagen in November 2011. As yet we have no idea how many phases there will be. However in its final phase we wish to see the project becoming a “social choreography”. Anyone will be invited to shoot and upload short screendance videos, using their “body in city” as a location of affect, archive their material onto a social media dance and technology platform and finally use Argon to facilitate a “performance” in their own city. These should reflect our premier of AffeXity in Malmö, November 2012.
Research making use of many technologies and devices
My focus of research for this residency, funded by the Danish Arts Council, is to explore the dialectical relationships between technologies, human and non-human or affect and techne. The project and research makes extensive use of many technologies, technological terms and devices. It involves screendance, HD video cameras (HandyCams, Go Pro, Panoramas), green-screen shoots, QR codes, iPads, iPhones, the web browsers Argon, chroma keying, GPS, KML, HTML, Java Scripting, FCP… plus a whole team of researchers and developers with the aim of capturing and amplifying the notion of affect within a city location.
The process however starts with a performative action, a dancer, exploring a visceral negotiation or affordance within a city location, the dancer teasing out through movement, the presence of affect: a liminality, an emotion, a kinesthetics, a shimmer, the carnal, the sensorial, the visceral or subtle subjective memory, presence or vibration of a location.
How do you hold a handful of techne?
My questions and research lie in the translation of this onto the timeline and mobile devices and finally into the moment of reception by the spectator. My questions will be: Is there a gap between the affect and the techne? How does one negotiate that space? What is that space between the body and the techne? Is there one? How does one hold a handful of techne (the actual plastic, glass, metal, object as well as all the technical know-how behind these technologies and coding) and then capture affect? How does one elicit affect from the dancer relating to the location, or the viewer participating in the event? What happens between the lenses, the lens of the camera and the lens of the viewer? Since I regard the camera lens as an extension of my eye and my movement centre, am I able to connect to my visceral technology with that of the dancer’s and the camera and finally into the viewer? How do I know when it is “there”? Is there a sense of intersubjectivity, during the capture of affect and then later during the performance of AffeXity? Is this carried through by an awareness of form and content, affect and techne working “hand in hand”?
Read more about Jeannette Ginslov’s previous work here.
Presently she works here:
My online work as co-ordinator in Dansehallerne Copenhagen can be seen here: 60secondsdance.dk, ScreenMoves
Online Video documentary maker for Danse Konsulenten & Dansens Hus and Independent Choroeographers
Online curating and producing for www.dance-tech.net, MoveStream and MoveStream Facilitations
Screendance works and previous stage works may also be seen on my You Tube Channel: Walking Gusto Productions and personal website http://jeannetteginslov.com
In the flesh, I teach Screendance (choreography, directing, camera and editing) at Skolen for Moderne Dans in Copenhagen and have taught internationally in South Africa, USA and Scotland.
Image: Affect Brainstorm by Susan Kozel and Jeannette Ginslov 19.02.2012. Photo & Fx by Jeannette Ginslov
Related articles:
- Mobile social choreographies: Choreographic insight as a basis for artistic research into mobile technologies – article published in Journal of Performance Arts and Digital Media
- Medea’s residency program
- The AffeXity project
http://arts.brighton.ac.uk/study/postgrad/performance-and-visual-practices-ma-brighton
The Masters in Performance and Visual Practices at the University of Brighton (UK) is an interdisciplinary programme, which positively encourages research and visual performance practices that expand into and across different fields of enquiry, whilst linking the programme to a network of local and national arts agencies and venues.
This Masters reflects a contemporary visual culture in a state of flux and change, marked by a shift away from discreet disciplines towards a culture of expanded and interdisciplinary practices, such as screendance, site-specific performance, installation, sound art, music composition and visual theatre devising.
The MA Performance and Visual Practices runs in both full-time and part-time mode. Practice units include a lecture series titled Performance Unlimited, seminars and workshops and students will be paired with mentors with expertise in their specific areas of practice.
Tuition Fees and Scholarships
http://www.brighton.ac.uk/prospective/postgrad/funding.php?PageId=340
International students:
http://www.brighton.ac.uk/international/support/
Contact details
Telephone number: +44 (0)1273 643200
email: samadmissions@brighton.ac.uk
or: Claudia Kappenberg, Course Leader
The International Journal of Screendance, Volume 3, ‘After Deren’.
The editorial board of the International Journal of Screendance is pleased to announce a call for submissions for our third issue to be published Spring 2013.
October 2011 marked the 50th anniversary of the death of Maya Deren. In recognition of Deren's considerable legacy as a filmmaker, theorist and experimental instigator of a choreographic cinema, we invite artists and scholars to join us in engaging with the continued relevance of her art in relation to contemporary debates, themes, and practices. We welcome proposals for essays and feature articles exploring the resonance of Deren’s filmmaking, writings and advocacies in the context of 21st century visual culture and critical theory. We also encourage wider reflections on related contemporary issue by artists, curators and choreographers working within media and time based practices.
Submission of papers (3000 - 5000 words) or artists' pages (1000 - 1500 words) in the first instance to guest editor Elinor Cleghorn at elinorcleghorn@gmail.com by Monday 31st May 2012.
For the online publication go to: http://journals.library.wisc.edu/index.php/screendance/index
To order hard copies of existing issues go to: http://parallelpress.library.wisc.edu/ordering.shtml
For any other enquiries and to receive a style sheet email screendancejournal@gmail.com
http://networkcultures.org/wpmu/unlikeus/2-amsterdam/
Conference day 2: Saturday, March 10
11.00 – 12.30 > SESSION 4 >
Software Matters
One of the important components of social media is software. For all the discourse on sociopolitical power relations governed by corporations such as Facebook and related platforms, one must not forget that social media platforms are thoroughly defined and powered by software. We need critical engagement with Facebook as software. That is, what is the role of software in reconfiguring contemporary social spaces? In what ways does code make a difference in how identities are formed and social relationships performed? How does the software function to interpellate users to its logic? What are the discourses surrounding software?
Moderator: Korinna Patelis
Speakers:
David M. Berry (UK)
Thinking Software: Realtime Streams and Knowledge in the Digital Age
As software/code increasingly structures the contemporary world, curiously, it also withdraws, and becomes harder and harder for us to focus on as it is embedded, hidden, off-shored or merely forgotten about. The challenge is to bring software/code back into visibility so that we can pay attention to both what it is (ontology/medium), where it has come from (media archaeology/genealogy) but also what it is doing (through a form of mechanology), so we can understand this ‘dynamic of organized inorganic matter’. In this talk I want to present some of the questions raised by thinking about software/code but also to explore some of the implications of code/software for critically understanding social media and more broadly for knowledge and the university itself.
Anne Helmond (NL) and Carolin Gerlitz (UK)
Reworking the fabric of the web: The Like economy
In recent years, Facebook has increasingly expanded beyond the limits of its platform, first through social buttons and the Open Graph, and more recently through new possibilities of app development, frictionless sharing and differentiated Facebook actions. These digital devices allow Facebook to turn user interactivity instantly into valuable data, creating what we have described as a Like Economy. In this paper, we explore how the platform produces a very particular fabric of the web with its software design by focusing on social buttons, apps and actions. The introduction of social buttons and social plug-ins allowed for a partial opening of the platform as walled garden – carefully regulated by its Graph API – and led to an increasing decentralisation of the web. Yet, the new apps, sharing possibilities and actions introduce a recentralisation as content and user activities are designed to remain within the platform. By tracing the data- and content flows enabled between the platform and the web, we suggest that the Like Economy cuts across straightforward ideas of Facebook as a walled garden but instead creates complex spatial relations, organised through a number of new relationship markers beyond the hyperlink which create new multi-layered dataflows.
Ganaele Langlois (CA)
Language, Subjectivation and Social Technologies
This presentation will engage with the works of Virno, Bifo, Lazzarato and Guattari to understand how language can be used as a site of analysis to understand the processes of subjectivation at stake in the neoliberal, post-fordist context. The starting premise is that capital, through new communication technologies, has invested heavily in subjective areas of life such as sociality and affect, most visibly through the development of online social networks and user-generated content platforms. In contrast to industrial capitalism, which sought to destroy the human psyche, the post-fordist context promotes the integration of previously alienated and resistant dynamics of individual and collective expressions of subjectivity. Language in particular should now be studied as a site of expression of such processes of subjectivation, and should therefore be understood as more than pure linguistic signs uttered by human actors. Rather, language involves not only social power relations, but also technolinguistic processes (automated and personalized recommendations, ratings and rankings) that create the dynamics through which subjectivities are encircled. In so doing, a theoretical shift should be undertaken from a focus on the content of communication to the semio-technical conditions that manage a seeming plurality of exchange.
Harry Halpin (UK)
The Hidden History of the “Like” Button
The Facebook “Like” Button is officially known as the “Open Graph Protocol” despite it being neither open nor a protocol, although rather surprisingly it is built out of open standards. In particular, the “Like” button depends on the W3C’s RDF (Resource Description Framework), the foundational knowledge representation system of Tim Berners-Lee’s idealistic and controversial Semantic Web. Facebook uses RDF to describe products, although who precisely “likes” a given item is transmitted back to Facebook via Javascript. We will explore how Facebook dialectically deployed open standards to build a closed giant global graph of people and products. In a world where collective intelligence is controlled in “walled gardens”, what is the role of open standards? Does the ubiquity of social media the creation of a new nervous system of an interconnected humanity or the primitive accumulation of the life-world?
13.30 – 15.30 > SESSION 5 >
Pitfalls of Building Social Media Alternatives (Debate)
It is not only important to critique and question existing design and socio-political realities but also to engage with possible futures. The central aim of this project is therefore to contribute and support ‘alternatives in social media’. What would the collective design of alternative protocols and interfaces look like? We should find some comfort in the small explosion of alternative options currently available, but also ask how usable these options are and how real is the danger of fragmentation. How have developers from different initiatives so far collaborated and what might we learn from their successes and failures? Understanding any early failures and successes of these attempts seems crucial. A related issue concerns funding difficulties faced by projects. Finally, in what ways does regionalism (United States, Europe, Asia) feed into the way people search for alternatives and use social media.
Moderator: Caroline Nevejan (NL)
Taking part in the debate:
Carlo v. Loesch/lynX (DE) from Secushare, Michael Rogers (UK) from Briar, Elijah Sparrow(USA) from Crabgrass, Spideralex (ES) from Lorea and James Vasile (USA) from Freedombox.
See ‘Showcasing Alternatives in Social Media‘ for project descriptions.
15.45 – 17.30 > SESSION 6 >
Social Media Activism and the Critique of Liberation Technology
While the tendency to label any emergent social movement as the latest ‘Twitter revolution’ has passed, a liberal discourse of ‘liberation technology’ (information and communication technologies that empower grassroots movements) continues to influence our ideas about networked participation. This discourse tends to obscure power relations and obstruct critical questioning about the capitalist institutions and superstructures in which these technologies operate.
As the first years of euphoria are over, the wild west style data digging companies are facing resistances from every level: single users campaign against facebook’s ubiquitous data collections as well as nation states and the EU are slowly understanding the urge to push wild west 2.0 back into a regulated framework. Once Social Media is integrated into a larger framework of policies and laws, once its place in society reflects a position negotiated by stakeholders, states and privacy commissioners, will such a normalised commodification of communal communication simply be accepted?
Moderator: Oliver Leistert (HU)
Speakers:
Philipp Budka (AT)
Indigenous cyber activism: the case of K-Net and MyKnet.org in northwestern Ontario, Canada
In 1994 the Kuhkenah Network (K-Net, http://www.knet.ca/), a tribal council initiative, started to connect people in the remote region of northwestern Ontario, Canada, through digital communication technologies. It started with a simple bulletin board system and now includes the construction and support of a whole broadband internet infrastructure. This infrastructure allowed for the creation of services that have become widely popular among First Nation people, from telemedicine and online learning to free webspace. One of those services is MyKnet.org (http://myknet.org/) which provides free personal homepages, particularly for the youth. Those homepages can be understood as local representations of indigenous cultures, lives and identities within the world wide web. This paper discusses K-Net and MyKnet.org as agents of an indigenous cyber or digital activism that aims to change living conditions in the region’s remote and isolated communities.
Stefania Milan (CA)
Cloud protesting. How is protest changing
Social media are changing the way people organize, mobilize, and protest. Organizing has become easier and quicker. Organizational patterns have transformed, as individuals become more prominent at the expense of traditional movement organizations. Protest tends to be elusive. The narrative of the action is no longer centralized and controlled by movement organizations, but any activist can contribute, by producing, selecting, and diffusing texts and audiovisual material. Surveillance, too, has become diffused and can be outsources to the movement. Borrowing the metaphor from computing, I call this type of mobilizing “cloud protesting”. Contemporary mobilizations can be seen as a cloud where a set of soft resources facilitating mobilization coexist. They be selected by individuals who can tailor their participation. In this talk I will explore different aspects of the “cloud” seen in relation to the technical properties of social media, including organizational patterns, identity building, tactics and surveillance mechanisms.
Max Schrems (AT)
Europe versus Facebook
The first part of the presentation will explain the data use of Facebook by focusing on the background data our group got by making access request at Facebook. The second part will focus on some of the complaints that we filed against Facebook, claiming that their use of personal data is illegal under European data protection regulations. By the time of the presentation there will also be the first results of these complaints that will be analyzed in the presentation. Additionally questions concerning the factual monopoly of Facebook, alternative ways of shaping social networks and user duties under European data protection laws will be discussed.
Eleanor Saitta (USA)
Networks and Nation States
Moving from a centralized, institution-driven culture to a network structure would imply massive disruption even without the simultaneous failure of neoliberalized capital and onrushing climactic and resource catastrophe. As we understand of our current position, we must expect an unprecedented degree of societal disruption. The shape of that disruption is determined in part by the nature of institution to network transition. If we want to understand this disruption, we have to start here.
In this talk, we’re going to look at a couple of specific, concrete projects that point to that shape, namely the Constitutional Analysis Support Team and our work in conducting a threat model of the Icelandic constitution and the Sukey project in London, a crowd-sourced, distributed, real-time activist counterintelligence system. With these projects, we’ll paint a picture of the structures of institutional failure and reconstitution and what a hollow institution looks like in practice. We’ll close with discussion of the problems of institutional discretion and the jurisprudence of networks.
JOIN US FOR THE LAUNCH OF LIVING AS FORM, THE BOOK
Join us on Monday, March 12 from 7–9PM at powerHouse Arena (37 Main Street in DUMBO) for a talk and book launch with Nato Thompson, editor of Living as Form: Socially Engaged Art from 1991-2011, a groundbreaking exploration of art and activism over the past 20 years.
The book, co-published with MIT Press, continues the dialogue about social practice initiated in fall 2011 with the Living as Form exhibition presented by Creative Time on NYC's Lower East Side.
Refreshments will be served, and all are welcome.
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Monday, March 12 7pm |
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BREAKING THROUGH INTERNET CENSORSHIP As the UN humanitarian headquarters and the host city of numerous NGOs, Geneva is considered the world capital of human rights. The Swiss branch of Reporters Without Borders and NY-based PEN American Center partner to celebrate World Day Against Cyber Censorship, an initiative launched by Reporters Without Borders in 2008 to support a single Internet without walls and available to all. Though walls still stand today, bloggers, hacktivists and specialists in Internet security have been astonishingly creative in their circumvention of censorship, matching the vanguard vigilance of censors. Participants: Stéphane Koch (Vice-President for the ethical hacking company, High-Tech Bridge SA, Founder of intelligentzia.net), Ebtihal Mubarak (Brooklyn-based Saudi journalist and blogger), Thérèse Obrecht (President, Swiss branch of Reporters Without Borders), Anas Qtiesh (San Francisco-based Syrian blogger and activist), and a surprise guest Moderated by Rebecca MacKinnon (Senior Fellow, New America Foundation; author of Consent of the Networked) Come hear international bloggers who will share their personal experience with censorship, and Internet experts who will offer information and new technology to help netizens of the world outwit surveillance. In partnership with PEN American Center.
For more information visit: www.thinkswissny.org |
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Cooper Union Frederick P. Rose Auditorium 41 Cooper Square New York, NY |
RSVP required: Free and open to the public
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NOTE: WATCH VIDEO PLAYLISTS WITH SOME EXCEPTS FROM TALKS.
Conference day 1: Friday, March 9
Social what? Defining the Social
The term ‘social’ in ‘social media’ is embedded in positive connotations regarding community spirit and participation and is moreover rhetorically used as a given. Within the popular discourse social media are often portrayed as important tools for generating and preserving social interaction within the community, which would supposedly lead to a more engaged and involved society. But to what extent are these media actually social as opposed to commercial when we consider how ‘the social’ is being recreated and exploited for commercial success. By working around the utopian discourse we will further explore this phenomena within this session in order to define the ‘social’ in social media.
Moderator: Geert Lovink (NL)
Speakers:
Jodi Dean (USA)
Society doesn’t exist
Over the last several decades, it has become common to the point of banal to say that “society doesn’t exist.” In Margaret Thatcher’s neoliberal policies, the radical democracy of Ernesto Laclau and Chantal Mouffe, the actor network theory of Bruno Latour, and the anarcho-communism of Michael Hardt and Antonio Negri the meme of society’s non-existence reappears. At the same time, for about a decade now, we’ve been barraged social media spam. In my presentation, I will consider the conjuncture of the claim that society
doesn’t exist with that for social media. Is the problem here that social media publicists simply didn’t get the memo regarding society’s non-existence? Or does social media bring (back) into existence what had been said to be an absent fantasy? In other words, does social media restore the missing social or is it a symptom of it? I will argue that it’s a symptom, one that displace attention from the real of political antagonism.
Dylan Wittkower (USA)
Reification 2.0
While The Social Network displayed, for the most part, the sort of understanding of Zuckerberg and Facebook better suited to Revenge of the Nerds V, there is one crucial thing that the film presented which seems to be literally false of Zuckerberg, but figuratively true of social network users in the Facebook age: we are getting lost in the commodification of our relationships. The use of “who you know” in business, and the social climbing which mobilizes relationships towards commerce are nothing new, of course, and neither are their youth equivalents, which trade on the currency of ‘popularity’. And yet, with Facebook we see those connections made ever more clearly into things to be possessed and used—not only by the network’s commodification of our personal data, but through users’ own mutual commodifications of one another: A reification 2.0 to go along with web 2.0.
13.00 – 15.15 > SESSION 2 >
Artistic Responses to Social Media
Artists play a valuable role in visualizing power relationships and revitalizing prefab subliminal daily routines of social media usage. Artistic practice provides an important analytical site in the context of the proposed research agenda of Unlike Us. Artists are often among the first to deconstruct the familiar, and to facilitate an alternative lens to explore and critique new cultural contexts and the technologies that evoke them. Is there such a thing as a social ‘web aesthetics’? It is one thing to criticize Twitter and Facebook for their primitive and bland interface designs, but is it possible to imagine the techno-social in completely different ways? Could we maybe design and implement new interfaces that give us more freedom to enable our mediated selves to be the evolving and layered identities we know ourselves to be? In this session we will present a few examples of artistic interventions in well-known social media platforms, and discuss their role and impact.
Moderator: Josephine Bosma (NL)
Speakers:
Thomas Cheneseau (FR)
FacebookFeedback is an original visual expression which examines the limits of the interface of this social network and deconstructs the temporal space of the website. Facebook is diverted and used both as media and medium, as a medium for dissemination and exposure, but mainly as a space of creation and existence of an artwork. This artistic research consists of a series of screenshots (pictures and videos) which appropriate plastic material such as codes of Facebook, as well as a series of progressive visual feedback, which makes possible towards the end to break down the timeline imposed by the social network. Thomas also directed the project HEKKAH, an interactive installation generated by the Facebook news feed in real time.
Tobias Leingruber (DE)
Can I see your Facebook ID?
Next time someone asks for your ID – How about showing a Facebook ID card instead of the documents your government gave you? On the web this is common practice. Whenever asked we agree on identity checks through “Facebook Connect” or post comments with our Facebook identity. Facebook Inc. is establishing order on the world wild web – They clean-up the mess of anonymity and push the establishment of identities through their system. There are close to 900 million FB citizens, and they all have a (digital) ID. “Offline” governments like Germany offer passports with online identity systems as well, but does anyone still care? Who is in charge of your identity, and how can this affect us in only a few years from now? Read more:http://fbbureau.com and http://fbresistance.com
Walter Langelaar (NL)
Web 2.0 Suicide Machine
Seamless connectivity and rich social experience offered by web2.0 companies are the very antithesis of human freedom. Users are entrapped in a high resolution panoptic prison without walls, accessible from anywhere in the world. We do have an healthy amount of paranoia to think that everyone should have the right to quit her 2.0-ified life by the help of automatized machines. Facebook and Co. are going to hold all your information and pictures on their servers forever! We still hope that by removing your contact details and friend connections one-by-one, your data is being cached out from their backup servers. This can happen after days, weeks, months or even years. So merely deactivating the account is just not enough! We are doing our best to expand possibilities of erasing your entire presence, however it is a work in progress. Please note, that we are not deleting your account! Our aim is rather to remove your private content and friend relationships than just deactivating/deleting the account!” http://suicidemachine.org/
Alessandro Ludovico (IT)
Face to Facebook, smiling in the eternal party
Social networking is naturally addictive. It’s about exploring something very familiar that has never been available before: staying in touch with past and present friends and acquaintances in a single, potentially infinite, virtual space. The phenomenon challenges us psychologically, creating situations that previously were not possible. Before the rise of social networking, former friends and acquaintances would tend to drift away from us and potentially become consigned to our personal histories. Having a virtual space with (re)active people constantly updating their activities is the basic, powerful fascination of the social network. But there’s another attraction, based on the elusive sport to position ourselves. The answer to the fundamental identity question, “who am I?” can be given only in relation to the others that we interact with. And the answer to this question seems clearer after we take a look at our list of social network friends.
Olia Lialina (DE)
Imaginary Origins of Social Networks
The Web’s history is reaching back only two decades, but researching the history of Digital Folklore quickly leads into uncertain territories. Because hardly anything of users’ efforts was deemed worthwhile to archive and document, we are left with assumptions, based on fragmentary memories of actual participants and the “best effort” archive The Wayback Machine. The quality of interacting with the web as a whole 15 years ago is lost and it is possible to remember things that never happened. The past is still under construction. Once Upon (2011) is three important contemporary web sites, recreated with technology and spirit of late 1997, according to the memories of Dragan Espenschied and Olia Lialina.
15.30 – 17.30 > SESSION 3 >
The Private in the Public
The advent of social media has eroded privacy as we know it, giving rise to a culture of self-surveillance made up of myriad voluntary, everyday disclosures. New understandings of private and public are needed to address this phenomenon. What does owning all this user data actually mean? Why are people willing to give up their personal data, and that of others? How should software platforms be regulated?
Moderator: Lonneke van der Velden (NL)
Speakers:
Raoul Boers (NL) and Ñusta Nina (NL)
Disliking the Like: User policy change and perception of the internet as a democratic medium
The European Union is currently focusing on ‘the right to be forgotten’. Several forms of legislation have been brought into force aiming to enhance the protection of personal data of European citizens. This European protectionism often clashes with the privacy policies of, largely American, commercial organisations such as Facebook and Google. Whether or not the European Union will be able to improve online privacy through legislation remains to be seen. One should wonder whether citizens need protection from -what is perceived as- infringement to the rights of privacy, while these citizens are actually consumers, using commercially provided services with policies that they have agreed to. On the other hand one could question whether most users of webservices like Facebook are equipped with the proper level of media literacy skills in order to manage such responsibility for their own privacy. Blindsided by tendencies akin to digital narcissism many users choose to remain indifferent to questions of privacy and the moral issues concerning their personal data. Herein lies the essence of the problem and the key to its solution.
Arnold Roosendaal (NL)
Who decides who I am online?
You decide who you are online. Or do you? Via internet you send information for education, work, recreation or shopping, stay in contact with friends on social networking sites, etc. Next to information you share deliberately, additional information about online behavior is collected. With this information other parties create, build, trade and use your online identities. Do we know and should we care? This presentation and provides an insight in the way commercial companies construct your online identity, and how individual autonomy is affected by preset choices and inclusion or exclusion mechanisms. It also shows how profiling is no longer group based, but strictly individualized, with direct impact on each separate individual. Commercial companies gain a central position on the internet, function as identity providers, and therewith make individuals dependent on them. Escaping becomes more and more difficult.
Frederik Zuiderveen Borgesius (NL)
The Ecosystem of Online Audience Buying
Behavioural targeting is the monitoring of online behaviour of internet users over time, in order to build a profile of these users, to target them with advertising matching their inferred interests. Users of social networking sites help marketing companies by profiling themselves. Profiles can be further enriched with up to date location data of users of mobile devices, and with other data that are gathered on and off line. Providers of social networking sites use profiles to provide advertisers with detailed audience segments to target with advertising. Other companies enrich their consumer profiles by extracting information from social network sites. A complex ecosystem of companies emerges, in which collected data are combined, analysed, and auctioned off in almost real time. The presentation gives an overview of this ecosystem.
Seda Gürses (TR/BE)
Privacy in Online Social Networks: A requirements engineering perspective
Social networks have been at the front line of introducing new services that raise privacy concerns previously unthought of. Not only have these outcries shown that privacy is an ever changing and contextual notion, they underline the variety of activities that can lead to privacy concerns and the variety of tools needed to counter the raised issues. Privacy itself is a debated notion with various definitions that are also often vague. While this increases the resilience of the privacy concept in social and legal contexts, it poses a considerable challenge to defining the privacy problem and the “appropriate” solutions to address those problems in a technical system-to-be. When engineering systems, the stakeholders of the system ideally step through a process of reconciling the relevant privacy definitions and the (technical) privacy solutions in the given social context. During the talk, I will discuss how this reconciliation can be approached during requirements engineering using examples from the interdisciplinary project on Security and Privacy in Online Social Networks (SPION).
Caroline Nevejan (NL)
Being and Bearing Witness in Communities of Systems and People
Next generation material and immaterial infrastructres are merging networks for commodities like water and energy with social networks in which human intentions and behavior are expressed. The design of such networks needs a new design paradigm to which an individual human being’s perspective is core. Human beings need to be able to accept repsonsibility and liability in such a context. Responsibility and liability, being witness and bearing witness, establishing trust and truth are foundationall for social structures. What are parameters for such a new design paradigm?
En esta segunda entrega de las entrevistas escritas, podéis leer las respuestas a las preguntas de MOV-S de Jacqueline Vasconcellos, productora y gestora cultural brasileña.
¿Qué preguntas/temas propones para el debate en MOV-S si queremos hablar de futuro y de otras formas de operar en danza?
Como se comunica dança? Quais as estratégias que estamos utilizando na área para difundir seus produtos culturais, bem como estabelecer o campo enquanto área de conhecimento propiciadora de obras artísticas e, portanto, construtora de saberes coletivos?
Há gestores em dança? Se há no mercado de trabalho, que tipo de formação específica deve ter esse gestor?
Qual o papel dos festivais na circulação e difusão de obras de dança, bem como que tipo de conexões (se houver) esses festivais estão criando com o meio local e com o que há em dança neles?
Como se preserva patrimônio cultural em dança? Como suportes audiovisuais podem contribuir com difusão e preservação de memória?
Direitos autorais em dança e registro. Há como ampliar a discussão?
Teniendo en cuenta que MOV-S se plantea como un proceso y no como un evento, ¿cómo crees que se debería dar continuidad al trabajo? ¿De qué manera propones seguir avanzando sobre los acuerdos y proyectos que surjan durante el proceso y durante el propio encuentro?
Penso que o trabalho no coletivo mais eficiente, quando se trata de trabalhar com agentes de dança, tem sido a formação de grupos de trabalhos permanentes com um coordenador responsável por responder pelo GT específico. A utilização de ferramentas da internet, como grupos em redes sociais, programas de produção de textos coletivos, etc, tem sido estratégica para a manutenção do trabalho do coletivo.
Outro aspecto que tenho observado como eficiente nesses coletivos de agentes, que participam de eventos, é envolver-se em projetos específicos e de colaboração mútua que atendam a demanda específica daquele tópico de discussão.
Por exemplo, se há uma discussão sobre difusão de dança, em como se difunde dança contemporânea - quais estratégias mais eficientes para a propagação dos seus produto - poderemos criar um GT, que conte com a participação de pessoas envolvidas no fazer comunicacional para propor estratégias diferencias para a área e aplicá-las em um ou mais casos específicos.
Isso permite com que o convidado se envolva no fazer coletivo, coloque as ideias expostas em ação de forma prática e contribua com o processo de MOV-S.
Outro aspecto relevante é tentar que os convidados tragam dos seus meios locais dados sobre o aspecto que será discutido, desde dados quantitativos até dados relativos a pesquisas acadêmicas existentes em seus países em relação ao tópico. Isso contribui com a feitura de um panorama mais geral de como aquele tópico em específico vem sendo abordado nas regiões geográficas representadas em MOV-S pelos convidados.
Uma terceira sugestão, em se tratando MOV-S também de uma plataforma que contribui para o desenvolvimento de novas perspectivas sobre a criação em dança contemporânea, é criar uma ocasião de residência artística em que os convidados proponham a metodologia de criação, bem como se há ou não resultado final. Isso propicia um fazer coletivo que reúne agentes e tem potencial para continuidade para além da ocasião de MOV-S de uma conexão efetiva entre esses agentes.
Entrevista en pdf.
An interactive evening of neuroscience in motion!
Have you ever wondered how a ballerina learns to pirouette? Or how musicians learn their art? Or even what happens to your own brain when you learn a new skill? Join neuroscientists, musicians and dancers as together we explore how fantastically changeable your brain is, giving you the extraordinary ability to adapt and learn throughout your life. Hear amazing stories of performers who excel against all odds; learn a new skill and test your own performance!
A collaborative event hosted by the British Library and UCL Neuroscience, with scientists from UCL Institute of Cognitive Neuroscience and UCL Institute of Neurology.
When: Fri 16 Mar 2012, 18.30–20.30 (doors open at 18.00)
Where: Conference Centre, British Library
Price: £7.50 / £5 concessions
An intimate presentation of seminal Judson Church dance artist Deborah Hay, discussing and performing her work. The documentary also presents her unique process of embodied inquiry and her continued engagement in dance as a means of exploring consciousness and of posing unanswerable questions.
Deborah Hay, not as Deborah Hay | A documentary by Ellen Bromberg
This documentary is presented on dance-tech.tv by courtesy of Elle Bromberd and Debottah Hay.
More Documentaries on dance-tech.tv
Complete works from innovative choreographers!
Support dance-tech.net and dance-tech.tv
yes, Screendance on dance-tech.tv!
Desde hace unas semanas os estamos presentando vídeos con extractos de algunas de las entrevistas que hemos realizado a cincuenta profesionales españoles, portugueses y latinoamericanos de las comunidades de la danza. A partir de hoy también pondremos en común algunas de éstas entrevistas en formato escrito.
Comenzamos con la entrevista que realizamos a la artista peruana Karin Elmore.
¿Qué preguntas/temas propones para el debate en MOV-S si queremos hablar de futuro y de otras formas de operar en danza?
¿Qué es la experiencia de la danza para el público y para los creadores?
¿Cómo rescatar o re-animar la experiencia de la danza como forma de arte?
¿En donde se sitúa la diferencia o la línea de frontera entre “la práctica” de la danza y su conversión en “arte”?
¿En qué momento es que la danza inicia a provocar contenidos?
¿Cómo hacer que ésta vuelva a conectarse con el público?
¿A quien le interesa la danza? ¿Cómo se ha anquilosado la práctica y representación de la danza?
Teniendo en cuenta que MOV-S se plantea como un proceso y no como un evento, ¿cómo crees que se debería dar continuidad al trabajo? ¿De qué manera se debería seguir avanzando sobre los acuerdos y proyectos?
Creo que habría que establecer redes a partir de este encuentro que permitan a los artistas tener una continuidad en la investigación y en la creación. Estamos en un momento de crisis profunda y los artistas que me parece que forman parte de estas reflexiones, quedan mas y mas fuera del “mercado”. Quizás sea una cosa buena, pues nos obliga a trabajar con lo esencial, pero hay límites; igual se necesitan espacios y lugares para poder trabajar, y poder tener un contacto constante con la gente. Nosotros como creadores no existimos sin la gente, la danza no es una práctica solitaria, es una práctica colectiva.
Creo que involucrar a otras comunidades fuera de la danza en la reflexión y en la práctica, podría ampliar nuestro rayo de acción y también enriquecer nuestra experiencia como artistas y personas: por ejemplo comunidades indígenas, tribus, asociaciones de campesinos, galerías de arte, museos, etc. El mundo es grande, y creo que mucha gente está interesada en una experiencia artística y sensorial, todos menos los banqueros, los industriales y los especuladores de la bolsa.
¿Cómo se debería trabajar durante el evento? ¿Qué tipo de actividades deberían estar incluídas en el programa? ¿Hay alguna dinámica en particular que se debiera proponer?
Yo creo que hacer un diseño comunitario y participativo sería muy bueno, es decir, pasar jornadas largas enteras juntos no solo en debates y conferencias y mirando espectáculos, sino participando de experiencias más directas, un poco como lo que propongo a través de mi quiosco de los sentidos, o de Benedictas, que puede durar todo el día, yo y 10 personas desnudas en medio de un campo de trapos desperdigados en el espacio, como en una guerra, como después de una bomba, moviéndonos muy lentamente, vistiéndonos y desvistiéndonos. Creo que no hay que tener miedo con el tiempo de las cosas, que justamente las personas participantes son quienes tienen la sensibilidad como para pasar por una experiencia colectiva que vaya más allá de la resistencia de los hábitos cotidianos. Eso crea debate y genera cambios.
Entrevista en pdf.
En la nueva entrevista de MOV-S, la productora portuguesa Caterina Saraiva propone hablar de la precariedad como sistema y de la ética en el trabajo. En cuanto a la metodología a utilizar en MOV-S, lanza la idea de probar metodologías lúdicas, juegos que pueden llevar a descubrir nuevas perspectivas.
Entrevista completa aquí.
ENGLISH BELLOW!
+ TALLER VIDEODANSA: PRODUCCIÓ I CREACIÓ. VII FESTIVAL DE VIDEODANZA DE L’HAVANA. CUBA
Núria Font dirigeix aquesta setmana un nou taller com una acció prèvia a la VII edició del festival DV Dansa Havana (Cuba). Des del 5 al 10 de març, es crearan diverses peces curtes (2-3 minuts) de videodansa, inspirades en una peça musical. Els resultats es mostraran durant el festival, que tindrà lloc del 28 al 31 de març.
+info: http://www.danzateatroretazos.cu/
+ RECOMANEM: LA COREOGRAFIA DE LA LENT, TALLER A CÀRREC D’ISABEL ROCAMORA
Taller comissariat pel British Council Barcelona i Forward Motion Gran Bretanya. Del 26 al 31 de Març de 2012 en Hangar, Barcelona. L’objectiu del taller és crear una peça audiovisual basada en l’acció en moviment. L'1 d'abril a les 18h es mostraran els resultats del taller a La Caldera juntament amb la projecció de la pel·lícula Artist Choice, de la sèrie Forward Motion.
+info: http://hangar.org/es/news/la-coreografia-de-la-lent-taller-a-carreg-de-isabel-rocamora/
Recordeu! Properes convocatòries de videodansa:
FIVC 3.0 (Xile): 15 de març. http://videodanza.cl/esp/
Reeldance (Austràlia): 23 de març. http://reeldance.org.au/reeldance-2012-submission-form
Womex (Grècia): 13 d’abril. http://www.worldmusicfilms.com/index.php?id=616
Cinedans (Holanda): 1 de Juny. http://cinedans.nl/entrycall
NU2's associació per a la creació rep el suport del Consell Nacional de la Cultura i de les Arts de la Generalitat de Catalunya, de l’Institut de Cultura de l’Ajuntament de Barcelona, i de l’Institut Ramon Llull.
/// CASTELLANO
+ TALLER VIDEODANZA: PRODUCCIÓN Y CREACIÓN. VII FESTIVAL DE VIDEODANZA DE LA HABANA. CUBA
Núria Font dirige esta semana un nuevo taller como acción previa a la VII edición del festival DV Danza Habana (Cuba). Desde el 5 al 10 de marzo, se crearán varias piezas cortas (2-3 minutos) de videodanza, inspiradas en una pieza musical. Los resultados se mostrarán durante el festival, que tendrá lugar del 28 al 31 de marzo.
+info: http://www.danzateatroretazos.cu/
+ RECOMENDAMOS: LA COREOGRAFÍA DE LA LENTE, TALLER A CARGO DE ISABEL ROCAMORA
Taller comisariado por el British Council Barcelona y Forward Motion Gran Bretaña. Del 26 al 31 de Marzo de 2012 en Hangar, Barcelona. El objetivo del taller es crear una pieza audiovisual basada en la acción en movimiento. El 1 de abril a las 18h se mostrarán los resultados del taller en La Caldera junto con la proyección de la película Artist Choice, de la serie Forward Motion.
+info: http://hangar.org/es/news/la-coreografia-de-la-lent-taller-a-carreg-de-isabel-rocamora/
Recordad! Próximas convocatorias de videodanza:
FIVC 3.0 (Chile): 15 de marzo. http://videodanza.cl/esp/
Reeldance (Australia): 23 de marzo. http://reeldance.org.au/reeldance-2012-submission-form
Womex (Grecia): 13 de abril. http://www.worldmusicfilms.com/index.php?id=616
Cinedans (Holanda): 1 de Junio. http://cinedans.nl/entrycall
NU2'S associació per la creació recibe la ayuda del Consell Nacional de la Cultura i de les Arts de la Generalitat de Catalunya de la Generalitat de Catalunya, del Ajuntament de Barcelona y del Institut Ramón Llull
/// ENGLISH
+ DANCEFILMS WORKSHOP: PRODUCTION AND CREATION. VII FESTIVAL DE VIDEODANZA DE LA HABANA. CUBA
Núria Font leads this week a new workshop as a previous action to the VII edition of the DV Danza Habana Festival (Cuba). From 5 to 10th of March, a few short pieces will be created and shown later during the festival, from 28th to 31st of March.
+info: http://www.danzateatroretazos.cu/
+ WE RECOMMEND: THE CHOREOGRAPHY OF THE LENS, WORKSHOP BY ISABEL ROCAMORA
Workshop curated by the British Council Barcelona and Forward Motion UK. From 26 to 31 of March, 2012 at Hangar, Barcelona. The workshop's objective is to create an audiovisual piece based on the action moving. On April 1st at 6pm the results of the workshop will be projected in La Caldera along with the screening of the film Artist Choice, of the Forward Motion series.
+info: http://hangar.org/es/news/la-coreografia-de-la-lent-taller-a-carreg-de-isabel-rocamora/
Remind! Next dance film call for entries:
FIVC 3.0 (Chile): March, 15. http://videodanza.cl/esp/
Reeldance (Australia): March, 23. http://reeldance.org.au/reeldance-2012-submission-form
Womex (Greece): April, 13. http://www.worldmusicfilms.com/index.php?id=616
Cinedans (The Netherlands): June, 1. http://cinedans.nl/entrycall
Auditions Research cycle 2012-2014 in Spring 2012
In 2012-2014, PARTS will organise the Research cycle under its current model. The Research Cycle is open for dancers and choreographers who have obtained a BA in dance in other institutions. Preselections will be organised in different European cities and in New York between February and April 2012 (dates and places to be announced in January). One can also apply through a written dossier. The final audition will take place in Brussels April 13-16.
More information on the Research Cycle audition can be found on the page ‘How to become a student’.
BOJANA CVEJIĆ Taller "Coreografía desde final de los años 90: Expresiones del pensamiento y formas de trabajo", Barcelona
LECTURAS
BIOGRAFÍA
Moments. A History of Performance in 10 Acts
8 March–29 April 2012
Opening:
Saturday, 17 March 2012, 4pm
ZKM | Center for Art and Media Karlsruhe
Lorenzstrasse 19
76135 Karlsruhe, Germany
T +49 (0)721/8100-1200
info@zkm.de
www.zkm.de/moments
"Moments. A History of Performance in 10 Acts" is an international live exhibition on the history of art performance in dance and fine arts. As an exhibition 'in progress', the project shows and develops new formats of museal presentation of live acts. The starting point is the interest in the processes of coming to terms with history in so-called re-enactments of historic performances, but which also comes to expression in the recently erupted controversy surrounding the museal presentability of performances by Joseph Beuys in photographic documentation. This is also reflected in the practice of a younger generation of performers and choreographs, such as in numerous historical appropriations and re-enactments. At the center of this is the 'heroic' period of the 1960s to the 1980s in which a radical (new) definition of the genre took place in the more intimate dialog between performance movements of fine arts and dance.
"Moments" develops new methodological and interdisciplinary formats of an active and not only museal representation of performance history. During the eight week duration of the exhibition project a scenic act around ten central stages of dance and performance history unfolds—as witnessed by a group of experts invited to accompany and observe for the entire period—before the audience. One of the key focal points is the performances and works by women who have consciously been thematizing, transgressing and critiquing the genre boundaries between dance, performance, and visual media since the 1960s. Here, they likewise reflect on the implicit male constructions of the gaze and the gestural logic of their colleagues.
The exhibition begins and ends in an empty space in which a lively exhibition display is built up in a permanent reciprocal movement between historical presence and medial documentation, museal re-presentation and scenic re-appropriation as well as new interpretation. A multiplicity of dialogically spirited situations emerge between performers, witnesses and public. Here, unlike more popular reenactments, recourse to history serves as a face à l'histoire, an active contrast of the historical and the present.
Among others, the artists represented in the exhibition will be Marina Abramović, Graciela Carnevale, Simone Forti, Anna Halprin, Reinhild Hoffmann, Channa Horwitz, Lynn Hershman Leeson, Sanja Iveković, Adrian Piper and Yvonne Rainer. The artists themselves document their historical performances in exhibition spaces. In collaboration with colleagues from art and theory (Alex Baczynski-Jenkins, Nikolaus Hirsch, Lenio Kaklea, Jan Ritsema, Christine De Smedt, Gerald Siegmund, Burkhard Stangl, Meg Stuart) Boris Charmatz approaches the documented works scenically and develops on-site a live act in a laboratory situation around this central moment of performance history. The artist Ruti Sela will be documenting this artistic approach to the work of their predecessors by way of film documentaries and will produce a film in the actual exhibition context itself. A group of students at renowned European universities will be accompanying the entire process. Directed by the group Charmatz, and in collaboration with the ZKM | Museum Communication, new performative methods and actions of the mediation of historical performance will be presented to visitors.
A publication will appear at the end of the exhibition.
Curators and exhibition dramaturgy: Boris Charmatz, Sigrid Gareis, Georg Schöllhammer
Display Concept: Johannes Porsch
ZKM | Center for Art and Media Karlsruhe
Opening hours:
Wed–Fri 10am–6pm
Sat, Sun 11am–6pm
Mon, Tue closed
Digital Culture Festival (map + parking)
Throughout the three-day run of Emerge, the Digital Culture Festival celebrates the collaboration of artists, engineers and scientists as distinguished guest artists and faculty and students from ASU Herberger Institute for Design and the Arts and the Fulton Schools of Engineering exhibit a series of interactive happenings. These creations will fill indoor and outdoor spaces spanning the arc of design and arts buildings at the west end of the Tempe campus. The Festival will culminate in a Saturday evening gala that will also include the closing show of the ASU’s Night of the Open Door. All festival exhibits and events are open to the public.
The festival activities include:
- Immerge (Nelson Fine Arts building and plaza, begins at 7 p.m. on Saturday, March 3) The setting will become the canvas for a unique interactive performance that immerses the audience in the futures imagined throughout the conference. Improvising actors (call them "animators") will move through the crowd enticing them to drive interactive sculptures and animations. The audience – based on their interactions with the actors and machines and their patterns of movement – will drive real-time graphics and sound engines. These engines will produce three-dimensional visual displays on the building and create surround-sound displays in the plaza. This cutting-edge show is being developed by a diverse group of ASU faculty and students from the arts, design and engineering units led by faculty members Daragh Byrne, Lance Gharavi, Hilary Harp, Todd Ingalls, Jordan Meyers, Loren Olson, Garth Paine, Jacob Pinholster, David Tinapple and Pavan Turaga. Read more
- Digital Culture Corridor (open all three days, March 1–3, unless otherwise noted):
- Sensory Meadow: located in the Digital Culture Walkway of the Stauffer Building on the Arizona State University Main Campus in Tempe, Arizona, features a lighted sculptural passageway that responds in real time to environmental sensors visualizing a range of metro factors such as air quality, water usage, and traffic levels. The artwork is a suspended garden of 45 light-weight translucent forms made of multiple layers of laser-cut Plexiglas. These computer-generated blossoms pulse in response to local real-time data such as river water flows, barometric pressure, CO2 levels and air particulate readings. In addition, the environment reacts dramatically to people passing under it through responsive sound and quickening light pulses. Created by Mary Neubauer and Todd Ingalls. (Stauffer Breezeway)
- “Your ______Here” is an SMS “happening.” Text-based projections will be displayed on the exterior of the Nelson Fine Arts Building, prompting passersby to contribute responses via mobile phone. Throughout theEmerge event, the system will collect and display provocative participant messages related to the festival themes. Created by Aisling Kelliher, Silvan Linn and Ryan Spicer. (Nelson Fine Arts Building exterior)
- Building Projections: Jake Pinholster, director of the Herberger Institute School of Theatre and Film, and his students will illuminate the Nelson Fine Arts Plaza and portions of the desert sky.
- 2012: A Golf Odyssey: A multidisciplinary team of students from across The Design School and Digital Culture are collaborating to turn the Neeb Plaza into a miniature golf course. The typical mini–golf experience is augmented by holes that react to a player’s progress, successes and failures. The four holes communicate with the golfers and with each other to create a fun, responsive and collective update to the mini–golf tradition.
- Powered by Fiction: Artists, Makers, Tinkerers and the Backstories that Inspire Them to Create, presented by Intel: A past that never was; a future that may never be; a present day made strange…. The imagined worlds of speculative fiction give us a lens through which to interrogate our own world, to explore paths we did not take and to begin to chart a new course toward tomorrow. This gallery exhibit, sponsored by Intel Labs, showcases fictional worlds made tangible and real through the creation of not just stories but also costumes, props, gadgets and environments. Explore the power of design fiction to generate the artifacts of alternate worlds. (The Design Gallery)
- Alien Health Embodied Game and I Know Where We Stand Game:SMALLab invites you to play in an immersive health game for middle-schoolers called “Feed yer Alien.” Students level up as they learn about nutrition while feeding a foundling alien who has a body like ours. This active, mixed-reality game will also be demoed with the new game that was created during the EMERGE Workshop called the “I Know Where We Stand Game.” (Open on Saturday, March 3 from 5–7 p.m. Digital Arts Ranch at University Drive and Myrtle Avenue.)
- Echo:System: “echo: system” is a live performance and installation work led by Arts, Media + Engineering Professor Grisha Coleman with Todd Ingalls and a collaborative team of ASU artists and researchers. The project is a response to our current environmental crisis caused by contemporary humans’ inability to reflect on the impact of their actions on the natural world. The goals of the project are to create lasting, arts-driven vehicles for cross-disciplinary research, curriculum advancement and community engagement. (Open Saturday, March 3 from noon – 1 p.m. and 4:30–7 p.m. Neeb Plaza)
- Starting With the Universe: Design Science Now: Experience an immersive theater experience inside David McConville’s GeoDome and explore cosmic models to design problems in an era of unprecedented global change induced by human activities. (Open Saturday, March 3 from 5–7 p.m. ASU Art Museum)
- Interactive Performances (Film Studio, Stauffer B125, Saturday, March 3,
5–6:15 p.m.):
- Digital Culture Music Ensemble (5–5:30 p.m.): The DC Music Ensemble, directed by Visiting Professor Garth Paine, transcends the acoustic/digital divide. Members control software interfaces in an organic and dynamic fashion that rivals the rich musicality and nuance that heritage acoustic instruments provide. The ensemble seeks to address the question “What is the music of our time?” by combining the old with the new.
- Laptop Orchestra (5:45-6:15 p.m.): Laptop Orchestra of Arizona State (LOrkAS) is a student–initiated, student–led and student–managed group from various backgrounds and disciplines. Performers explore the possibilities of the laptop for musical, visual and interactive expression and push the envelope of integrating arts and technology.
