Dance-techTVLIVE transmission channel of the forums to be held with leading academics in Chile. The talks cover topics such as: Dance and Philosophy, Dance and Public Policy, dance and education.

Wednesdays 26, Thursdays 27 and Fridays 28 at 18:00 hrs of Chile (GMT -4)

> This is the transmission link

This event will be in spanish only.

Hello all,

For a screening program that will take place at the Intersection project of the Prague Quadrennial, we are looking for video dance works which deal profoundly with one or more of the following subjects: location, duration, mood.

Please note that the deadline is very near!

For registration please send a filled form via e-mail by February 8

form-VideoDanceProgram-PQ.doc

A DVD (PAL) together with a printed and signed form should be sent to:

Lior Avizoor, 5 Shmaaia street, TLV-Jaffa, 68024, Israel - by February 15

For further information don’t hesitate to contact me.

All the best,

Lior Avizoor

curator and choreographer

+972-54-4840986

lior.avizoor@gmail.com

Between the Seas Festival

New York City, August 29^th- September 4^th  2011

Join us in celebrating contemporary Mediterranean culture!

MISSION:

Between the Seas Festival is organized for the very first time in New York City from August 29^th to September 4^th 2011 at the Wild Project theater space in the heart of the East Village. The festival seeks to engage performing artists and researchers from the Mediterranean and Mediterranean diaspora with the following goals:

-       Share with New York City audiences the vibrancy and diversity of contemporary cultural production from the Mediterranean, aspects of which often remain inaccessible and under-represented in North America

-       Encourage exchange and future artistic collaborations between NYC-based and Mediterranean-based artists

-       Contribute to the examination of Mediterranean identity/ies by encouraging discussion and exploration of the region’s commonalities and differences as manifested in arts, history, culture, geography and politics

-       Generate interest and debate over Mediterranean identity and culture, envisioning the region’s potential as a model of cross-cultural exchange beyond polarizing and homogenizing discourses.

The festival is produced by Les Manouches Theater Company with the collaboration of distinguished scholars, theater practitioners and festival managers from the US and Europe.  

We now invite submissions for artistic performances [music, dance, theater] and scholarly papers from emerging and established artists, researchers and academic practitioners. The deadline for submissions is March 30th 2011. Please see  www.betweentheseas.org for information and submission guidelines in each category.For information email lesmanouchestheatre@gmail.com

www.attakkalaribiennial.org/

opening 28th jan (friday)

There are really only 3 people that come up with my name

Myself

A Beth Parthum who does paper making/artist and is twice my age

And an Elizabeth Parthum who is married to my... great uncle? She's related

O YEA.. and Irine Elizabeth Parthum who is a lawyer. That's only interesting cause I'm pretty sure my great uncle is a lawyer.

I was suprised to see much more of myself come up as Beth rather then Elizabeth.  I have had a hard time trying to decide which to go with professionally, but I think my mind is made up. 

First is the typical, Facebook (not me), Linkdin, and Dance-tech ;).  There is a lot on myself from the university of illinois shows I've worked on. Killer Joe, Crucible, History of American Film, things like that. Studio dance 2.  I did an interview with the Buzz for the Armory Free Theatre. (http://the217.com/articles/view/one_on_one_with_beth_parthum_production_manager_of_the_armory_free_theatre) The things from my undergraduate suprised me, but I'm glad it comes up with my name.  "Relay for Life...." (http://www.desales.edu/default.aspx?pageid=6687)was certainly unexpected even though I'm not sure why. I was part of it for 4 years and co-chaired the event for 2.  I think it gives me hope that I will be able to continue doing good in the world even if I'm in grad school for a short time.

I think this almost gave me a new appreciation for how the world can see a person. I'm an eclectic soul with good parts involved.  It's nice not to see legal issues associated with you online :) 

Being a heavy internet user with a relatively uncommon name, the first thing that comes up when I look for my name in quotes is my "Linked-In" page:

http://www.linkedin.com/in/bradfordchapin

Next is Facebook. My profile page, and then "The Bradford Chapin Appreciation Society" facebook group-- a group some friends from undergrad made as a (flattering) joke.

Next is the page for the theatre where I most recently worked - California Shakespeare Theatre. I was their sound engineer for 2 years, but the page that shows up is the one and only Sound Design I did for them - Samuel Beckett's "Happy Days." Ask me about the rattlesnake story from that play sometime (Cal Shakes is an outdoor theatre in the beautiful Berkeley Hills).

http://www.calshakes.org/v4/ourplays/happy_days.html

Next there's a reunion.com BS page, then an ancestry BS page, and THEN there's my DANCE-TECH.NET PROFILE! YES!!!

A fun fact I found farther down the google page:

When alphabetizing the major towns in Franklin County Iowa, Bradford and Chapin are right next to each other. COOL. Maybe I'll visit both one day...

Cheers,

Bradford

I have done this search on my name as "Robert Dagit" several times now, and it has come to the same conclusion... I can't hide...

Now,

Is this a good thing due to the fact that most people seem to remember my name fairly easily (where I have a hard time remembering names period) and can find me without much effort as a simple search will come up with my Facebook, linkden, twitter (forgot I had that), myspace (does anyone use that) and some other random cites allong with many of the press releases from the shows that I had the pleasure to work on....

Or a bad thing due to the fact that people can easily see if I am lying about X or Y show that I have worked on (most of the time) and those few people who I no longer want to talk to can stalk me.... easily...

Right now there are "four" people that I can see with my name, and someone named Arron Robert Dagit... I either case, It's not hard to tell the difference as one is an insurance salesman from Iowa, one is a Reverend in Flordia (I wish I were there right now, YEY warm) and myself. I can't seem to find anything on the fourth one exept he "exists". To be honest, I can't find anyone of the other Robert Dagit's on any other social site which I would suggest means that they just don't have a facebook account...

So, what does this mean? Do I have to live with some restrictions? I probably should, but I don't.... I do have my facebook with as high of a privacy restriction as possiable for people I do not know. There's also a privacy shield against old school mates, facebook game buddies, bosses I do not trust, etc... but exept for the facebook game buddies, most of these "groups" are no more than a dozen people. I guess it's my knowledge that me having a few pictures of me with a good burbon isn't going to cost me a job or friend that I needing to be dealing with. Strangely, I never restricted anything when my extended family (finally) started getting facebook account and most of them were actually suprised I haven't gotten in more trouble... But then you'd have to know my family to know how much trouble they got in as young adults....

Though, as far as the public sees... I'm A sound Designer that works for places that are not afraid of announcing the opening of a show 3-4 times a piece... oh well... I guess it's free advertisement for later on. No way I can hide the fact that I'm a Sound Designer and Student of USI (undergrad) and UofI.

If you Google search my name, you will first see my dance-tech.net account, and then you will soon find that I’m a hippie college student with canned heat in my heels.

My name is fairly uncommon so I don’t have the trouble that others have of coming up with a bunch of search results, on Google and other search engines, of strangers who share the same name. After searching my name using Google. Bing.com, and a few other search engines, I’m actually not sure if I would consider that to be trouble after all; it’s a tad unsettling to realize how quickly people can learn so much about me. Computer-mediated communication has become such a big part of our lives that the extent to which our identity is expressed and, in a sense, created through this medium can be taken for granted. Thinking about this also made me realize that, at least personally, a self-conscious approach to the use of the internet has almost become a second-nature of sorts. Using information from my social networking accounts and search results from Google and Bing I made an image to summarize my internet identity:

*This was the first picture that came up when I searched my name under images on Google

Photo Credit: Natalie Fiol

Poor Editing: moi

Special discount for dance-tech.net members in all tickets!
Show your profile page on dance-tech printed on in your smartphone (with a valid a ID) and you will get a special discount in all tickets.

Blooging about the festival?

VOLUNTEERS WANTED!

2011 Trailer/Dance on Camera Festival from Dance on Camera on Vimeo.

One day, (a year ago) I searched my name on google. What did I find? Just a few articles and websites in which I appeared. Nothing too special but certainly I myself came up. Today, in 2011 I search my name and I can not find my self. 

Who do I find?

Well, about five long years ago when I had a face book I was very much into photography and had quite a collection self portraits which caught the attention of another Jessica Cornish. She seemed to really like my work and low and behold, after visiting Jessicas facebook I saw that she too was quite the model/photographer and seemed to be doing a lot of what I was experimenting with.

So back to the question; Who do I find?

I find the same Jessica Cornish I met years ago only now she is a hot sensation in London, the star of her hit TV show which involves completing a variety of dares in social settings. People seem to love her!

I tried to escape this other Jessica on google and atleast find another Jessica, even if not myself but alas, I searched till the ends of google and could find this one Jessica.

The first few hundred websites that google displays are the ones which are the most viewed/relevent. Hence, the first page of search results of google might be what you call la crème de la crème. And often time, if the mass is not doing too much deep searching they do not venture far from the first set of results. But what if la creme de la creme is really la bullshit de la bullshit. it matters not. What matters is what is most viewed/relevent.

An article about rhizomatic learning discusses knowledge and what that means in todays technolically centered world.

"A clear definition of the word "knowledge" is difficult yet key to any search for shared understanding. Indeed, as Hinchley (1998) notes, "Like other cultural assumptions, the definition of ‘knowledge’ is rarely explicitly discussed because it has been so long a part of the culture that it seems a self-evident truth to many, simply another part of the way things are" (36).  However, the concept of knowledge is fluid and subject to cultural and historical forces (Exhibit 1); as Horton and Freire (1990) argue, "If the act of knowing has historicity, then today’s knowledge about something is not necessarily the same tomorrow. Knowledge is changed to the extent that reality also moves and changes. . . . It’s not something stabilized, immobilized" (101). The word itself is thought to have multiple origins, drawing from forms of "to know," "to recognize," and the Old Icelandic knà, meaning "I can." The combination of these origins suggests a relationship of knowledge, power, and agency that is grounded in both the social and the political spheres. Knowledge represents “positions from which people make sense of their worlds and their place in them, and from which they construct their concepts of agency, the possible, and their own capacities to do” (Stewart 2002, 20)."

http://davecormier.com/edblog/2008/06/03/rhizomatic-education-community-as-curriculum/

When searching my name on Google, the first item that shows up is my listing as a member of the 2010 Senior 100 Honorary at the U of I.  It directly followed by my professional profile on LinkedIn, my profile on Culturevulture.net and my Twitter account. Unfortunately, my personal website and my work for Dance Teacher magazine follow my Twitter account in the rankings, which is something that I would like to change.

I have made a conscious effort to build an online presence that is primarily professional; my Twitter and Facebook accounts are things that I use for more frivolous, social reasons, and I don’t necessarily want what I write on those sites to be directly tied to my name on the Internet. That in and of itself is somewhat of a conundrum – it seems as though the easy solution would be to make an effort to not act like an idiot on social media sites. But the reality is that for me, those sites are first and foremost social.  To do a “damage control” of sorts, I use “Limited Profile” settings and the like for professional correspondents with whom I interact on those sites.

A lot of my writing shows up on a Google search of my name – 10 O’s isn’t half bad at age 22!  I think one interesting thing about my Internet identity is that I am identifiable primarily as an intellectual – as a student and as a writer about dance – and though I spend the majority of my time playing those roles, I feel like the web minimizes my role and identity as a dancer.

I have been dancing since age 4, and it has always been the thing that has made my life exciting and manageable. The truth is, I don’t feel alive when dance is not a part of my life, and though I have made a living writing about dance (as both a reporter and a critic), the physical act of dancing is the thing that really defines me as a person (in my opinion). To exist and move in physical space – to negotiate my body through a series of movement with an added artistry and engagement, without a textbook in hand or a test looming in the future – is the opportunity that dance provides me in my now highly rigorous academic schedule.  The release I feel in physically dancing is something that no news article could ever provide me.

That being said, the art of the interview is the closest I thing I get in journalism to matching the high I feel when I am moving.  I try to convey the excitement I feel in my interview processes through my writing, so I hope that that character is conveyed in a web search of my work. Unfortunately, I somehow feel that the Internet paints me as somewhat static – especially in a photo search. Smiley photos of me are all over the place, but I don’t think I am always quite so cheeky in real life.

So I just have to find a place for my sarcasm to live online and I will be set. I guess Twitter may work to my advantage, after all.

The full title of the article:

"The Extended Body: Telematics and Pedagogy" (Kozel 2.5)

I have expressed my objection to the term pedagogy. Here's a link to a discussion of andragogy. "Telematics," the word, leads me to another objection, one that pertains in general to the writing in the article. Words can be stumbling blocks to meaning, and opaque sentences full of abstruse terms do not serve the cause of learning. See "On Bullshit."

Nevertheless, the article serves as a useful springboard for many obvious features of the technologically extended creative workspace. Considering 'mediated presence' in light of the several ambiguities swirling around the concept ('mediated' as 'generated by or aided by media' as well as in the sense of 'modified by an intermediary' and presence as defined by its opposite, absence), the article starts with a suggestion that technological breakdowns mimic human breakdown when it comes to communication.

The article predates Facebook by a almost a decade. The social networks make a point of being absent as well as present. Being 'friends' with someone one barely knows, and doesn't feel particularly comfortable with in 'real time' is a form of mediated absence. One can 'know' this person, and be known, in a way outside normal boundaries of social behavior. (Another example is the person that becomes a demon behind the wheel of an automobile. This person has just greeted you fondly on the way to the garage. A moment later, you are nearly run over by this same person, now a driver, enclosed in a mediating metal box, clearly in an impatient mode, aware only of being in a hurry, leaving you shaking your head to the sound of squealing tires and the pall of blue smoke.)

Communication breaks down. The networks have latency, and we are lost between the spaces on a virtual desktop. I find this embrace of 'space' particularly poignant and potentially useful. The interactive workspace and art form searches for meaning as much as it searches for the next breakthrough. Here is a metaphor that offers a meaningful clue. The spaces between windows are the spaces between us.

• What sort of identities we have as a result of being out there in the network?
• (we’re there whether we want to be or not)
• Maintain blog on personal dance-tech.net home
• JT: “By then you might be dead.”
• Video cameras and laptops can be checked out at the library
• 
  

INEARTHIA
Simon Halbedo, Nazario Branca, Maren Sandmann, Switzerland, 2006; 2:15m
A creative attempt to spin the Earth. This short stands out as proof that with a clear idea and execution, you don't need a large budget, staff to create an amazing video.

Moebius Strip
Vincent Pluss, Switzerland, 2001; 26m
Winner of the Dance Screen Award in Monaco, this video features a seamless weaving of dance and camera choreographed by Gilles Jobin.

One Bullet Left
Markus Fischer, Switzerland, 2003; 26m
Choreographer Richard Wherlock and director/producer Markus Fischer team up with dancers of the Ensemble of the Basel Ballet to create a subtly wrought dance narrative in the style of American film noir.

REINES D’UN JOUR
Pascal Magnin, Switzerland, 1996; 28m
Six tumbling bodies on mountain slopes of the Alps, caught between Heaven and Earth, among the cows and the villagers. This strikingly visual and sensual film triggered a wave of understanding among dancers when it was shown in Dance on Camera Festival 1997. Marie-Louise Nespolo, Christine Kung choreographed the work and performed with Veronique Ferrero, Roberto Molo, Mikel Aristegui, Antonio Bull.

Looking forward to tonight's broadcast of Choreography or ELSE on Dance Tech's site

http://www.dance-tech.net/profiles/blogs/choreography-or-else-opens

Choreography or ELSE presents:

While We Were Holding It Together

by

Ivana Müller

READ MORE ABOUT CHOREOGRAPHY OR ELSE

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marlon barrios solano

producer