Posted by Gilles Jobin on January 19, 2010 at 5:46pm
AUDITIONGilles Jobin Dance Company (Geneva-CH) is auditioning1 male + 1 female contemporary dancerCreation period june, september-october-november-december 2010-01-19Tour 2010 and 2011 season. Very strong contemporary dance technique andexperience needed. Audition will take place in Geneva and/orParis/Berlin/Bruxelles in February. By invitation only. Please send acv/résumé, photo and short motivation letter by email. And a link tosee videos on your dancing on the web (youtube, myspace, etc...)audition@gillesjobin.comhttp://www.gillesjobin.comRead more…
por Quim PujolLos seres humanos poseemos una escasísima inteligencia y unas habilidades perceptivas extremadamente limitadas. Eso hace que todo objeto que no encaje en una categoría configurada de antemano produzca ansiedad y rechazo. Por oposición, cualquier cosa reconocible y perfectamente categorizable nos alivia. El placer del reconocimiento.¿Es la historia lineal o circular? ¿Tendemos hacia el progreso? A pesar de la dificultad para hallar modelos matemáticos que encajen con procesos históricos, está claro que la involución es una figura recurrente. Ningún avance puede darse nunca por sentado: tarde o temprano correrá peligro. Backlash, que se dice en inglés.La Porta me ha encargado que escriba un texto sobre su proyecto Sobrenatural. Se trata de una serie de vídeos comisionados para mostrarse por Internet. Antes de sentarme a escribir, los visiono una y otra vez y constato la dificultad para hacerlos encajar en una categoría preexistente. Ansiedad y rechazo.Delfín Colomé explica en 1989 que el éxito de Maurice Béjart se debe a que “sabe lo que hace y por qué lo hace. (…) Y lo hace porque –de acuerdo con el pensamiento sobre el que basa su acción- es el momento de hacerlo”.Si el cine se inventa al final del siglo diecinueve, las posibilidades expresivas de este medio sólo se desarrollan a lo largo de las décadas siguientes.Riefenstahl, Lang, Kubelka… Cada uno de ellos aporta un granito de arena en la exploración de este nuevo lenguaje. Si hacemos una analogía con Internet, debemos concluir que a pesar de los abundantes ejemplos de arte digital, el grueso de las posibilidades expresivas de este medio aún están por descubrir. Nadie de nosotros sabe todavía dónde conducirán proyectos como Sobrenatural. Algunos quizás desemboquen en exuberantes paraísos y otros en vías muertas. De lo que no cabe duda es que es el momento de hacerlo.Al visionar/accionar los vídeos interactivos diseñados para la red por Olivier Otten en http://selfcontrolfreak.com, nos preguntamos: ¿terminará la interactividad en los audiovisuales de la red cobrando el mismo protagonismo que el sonido en el cine?A primera vista, el medio –Internet- parece obviable en algunos de los vídeosde Sobrenatural. Quizás algunos de ellos sean tan sólo videoarte. Tras esta primera impresión, examino con más atención este material donde el medio parece carecer de importancia. De repente, cambio de opinión: hay algo distinto en estos vídeos. Algo que no depende de mi interpretación, sino de la situación en sí. Yo a solas con mi ordenador en casa. Estoy mirando estosvídeos de forma diferente de como lo haría en una galería o en una sala de proyección.¿Cómo afecta el medio de difusión a estas piezas? Al salir del espacio dedicado al arte, en un primer momento estoy tentado de acordarles menos valor a estos vídeos. Un cuadro no luce igual en el Reina Sofía o en una esquina en la vía pública. Una obra escénica no se lee igual en un teatro o en una estación de trenes. Al sacar estas piezas del espacio que se delimita para el arte, se liquida rotundamente su componente auréatico y exclusivo. Esto hace que el proyecto no sea fácil de comunicar ya que, debido a la falta de aura, las mentalidades más conservadoras probablemente afirmarán: esto no es arte.Un país donde se trae a las grandes figuras que cambiaron la historia del arte como mínimo 20 años después de que lo hiciesen, un país donde todo lo que no cuadra en ninguna categoría clara en su sentido más tradicional -como “danza” o “teatro” o incluso “danza-teatro”- se arrincona porque resulta incómodo, un país donde la mayor parte de programadores e instituciones son incapaces de apostar por algo por lo que no haya apostado ya todo el mundo. Un país dominado por el placer del reconocimiento.¿Cuál es la diferencia entre estas imágenes y los vídeos que circulan por Youtube? Algunas obras de Sobrenatural destacan por un riguroso planteamiento conceptual, otras por su compromiso social, o bien por su estudiada composición estética, o sino por elaboradas estrategias que provienen de la tradición escénica. No, no se pueden confundir estos vídeos con el grueso del material que habita Youtube. Sin embargo, una pequeña proporción de los vídeos de Youtube sí que ofrece características similares. Internet democratiza la difusión del arte y demuestra que todos podemos ser artistas sin tener que pedir permiso a nadie. Si Marinetti preconizaba a principios de siglo que había que quemar los museos, esta tarea se ha vuelto innecesaria: sus opulentas paredes se disuelven en el aire.“(…) las consecuencias del ’92 fueron desastrosas. La época de la normalización había concluido y ello se celebró con un despliegue de fuegos artificiales que, al apagarse, dejó a la luz las carencias. (…) La creación contemporánea fue desatendida, y no sólo la creación contemporánea, sinola producción escénica con voluntad artística y el mercado (es decir, el mercado de las subvenciones y los contratos públicos) fue poco a poco devorado por iniciativas comerciales, entre ellas las de empresas como Anexa, Focus, Pentación o Calendas”. José Antonio Sánchez, “Génesis y contexto de la creación escénica en España. 1978-2002”. Ningún avance puede darse nunca por sentado: backlash.¿Cuál es la historia de una práctica escénica tan joven como Sobrenatural? En un artículo de Joan Abellán donde repasa brevemente la evolución de Albert Vidal, el autor explica que “uno de sus últimos experimentos [de Vidal] se ha podido ver a través de Internet entrando en el ámbito de la llamada presencia telemática, es decir, acción viva pero para ser observada en la intimidad de la pantalla del ordenador que en España experimenta María de Marías y que aún resulta difícil de clasificar”. A eso podríamos añadir los ensayos que Richard Foreman transmitía en directo por Internet mientras desarrollaba su última pieza en Nueva York, e infinidad de pequeños subgéneros audiovisuales que circulan por la red. Desde sinopsis de piezas,a declaraciones de directores teatrales, pasando por toda una ristra de páginas Web donde la gente muestra su intimidad en directo sin pretensiones artísticas pero con un marcado carácter performático. Aún así, es una historia que está por escribir, en gran medida porque todavía no ha pasado.Según el filósofo Gaston Berger (y padre de Maurice Béjart) “lo posible forma parte de lo real y somos responsables de su advenimiento”. De esta forma, “el futuro no es una simple promesa, sino una tarea que hay que cumplir”.
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Posted by Emelie Bardon on January 18, 2010 at 7:02pm
I'm going to New York City for month this summer. Will be staying there from 27th of May until 30th of June, and need to rent a flat or a room during that time. My husband is coming too but we're used to compact living. :P Please, please, please, help me!
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No Fixed Points in Space: Transferring Form, Time, and Narrative between Architecture and Performance
Date: January 26, 2010 from 6:30 pm to 8:30 pm EST
Location: Columbia University
Morningside Campus
Miller Theatre: 2960 Broadway at 116th Street
Contact: For further information regarding this event, please contact School of the Arts by sending email to arts@columbia.edu .
Moderated and curated by architect Annie K. Kwon, No Fixed Points in Space will include a panel discussion with distinguished voices from both fields to explore the relationship between architecture and performance, focusing in particular on the notions of multiple perspectives and spatial plasticity. Panelists include:
* Trevor Carlson, Executive Director, Cunningham Dance Foundation;
* Michelle Fornabai, Principal, Ambo Infra Design;
* Paul Kaiser, digital artist, Open Ended Group;
* Paul Miller (aka DJ Spooky), artist; composer; writer
* Tere O'Connor, Artistic Director, Tere O'Connor Dance; and
* Bernard Tschumi, Principal, Bernard Tschumi Architects
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Posted by karla kracht on January 17, 2010 at 4:34pm
Visualizing Dance Archives is a research and development project aimed at creating a 3D animation software for dance and choreography.The goal of this project is to develop a new unique software, which provides the possibility to access historic static sources and to translate their referentiality into visuality, thus revealing its motoric and kinetic aspects. The new computer application will aid research in reconstructing dance by creating animated movement sequences. It will allow to transfer movement content from a variety of sources into a visual, three-dimensional representation. The researcher will be given a great amount of flexibility, offering a wide range of possibilities and choices to connect visualized body postures to movement phrases.http://www.movement-notation.org/VisualizingArchives/
Posted by karla kracht on January 17, 2010 at 4:31pm
At the fifteenth Impulse Festival, the theater meeting of the independent scene in North Rhine-Westphalia, projects triumphed that work on changing life into art....article on goethe institut webpagehttp://bit.ly/5y4tKDRead more…
Posted by karla kracht on January 17, 2010 at 4:28pm
Informations according residencies for the first half of 2010:Download | PDF 0.2MB1 February 2010 (post-marked) is the closing date for applications for residencies for the second half of 2010 (August until December 2010).The program Tanzplan Potsdam: Artists-in-Residence offers international choreographers the opportunity of several weeks work residencies in the fabrik Potsdam.Proposals for research-oriented residencies from the fields of dance and choreography that would include collaborations between different artists, theorists as well as experts from other disciplines or which formulate an interest in such dialogues in the framework of a concrete research process will be particularly supported.The residencies provide, where appropriate, a rehearsal studio at your sole disposal. Accommodation is provided at no cost in guest rooms at fabrik or in a guest flat in the centre of Potsdam. Residents receive a scholarship between € 300,- and € 375,- per week per person (if the residency includes not more than 4 participants). Residencies are possible between 2-10 weeks maximum.Furthermore, Tanzplan Potsdam covers the costs for the one-time round trip to Potsdam and can partly cover material-/production costs. Individual guidance during the residency is possible and can include the research and distribution of contacts and possible dialogue partners as well as organizational, technical and artistic advice.Applications should include a residency proposal and information about work to date. Postal submissions only to:fabrik PotsdamTanzplan Potsdam: Artists-in-ResidenceSchiffbauergasse 10, PF 600607, 14406 Potsdam, GermanyApplications accepted in English or German.Applications postmarked after the deadline will not be accepted.All complete applications will be considered and replied to in writing (by e-mail). Residents are selected by a panel. Please note that we can unfortunately not return your application material to you.Contact: fabrik Potsdam, Ulrike MelzwigTel. +49 (0)331 2800314, e-mail: residenzen@fabrikpotsdam.de
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Want to help the people of Haiti who lost homes, friends and family members in the 7.0-magnitude earthquake yesterday? Well, there are several places online where you can easily and quickly donate without even leaving your desk.
http://mashable.com/2010/01/13/haiti-earthquake-donate-help/Read more…
This survey is designed for artists of all levels of experience. Even if you have not done much pertaining to Media Marketing, Film, or Video, we ask that you participate in this survey, so we can learn more about you.Take the survey, by visiting our blog, MovetheFrame. http://pentacleblogs.org/movetheframe/This Survey will Help us Learn More About the Following Areas:Media Marketing: What do dancers need to improve self promotion through media to increase audience numbers for live performances? We want to learn who needs assistance with improving websites, search engine marketing, online press releases, and social networking.Dance for Camera Production: Which artists want to produce dance for camera (films and videodances)? Who needs education on the basics of film making to produce work? What kind of film would you like to create? How can we help you get started?Promotional Video Production: Which artists need assistance with moving through all of the stages of video production for promotional videos or for instructional dance videos? Who needs help with planning, strategizing, editing, and distribution to guarantee that these videos are seen by large audiences?We thank you for your participation!
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STAY TUNED for the video of today's panel discussion with Marc, Megan Springer, Larry Keigwin, & Sydney Skybetter-who shared Creative and Innovative Ways to Promote Dance with Video at APAP 2010. You'll definitely want to catch this information! http://tinyurl.com/yf99qxaRead more…
Posted by TMA Hellerau on January 11, 2010 at 1:42pm
Statement:Media art is the sensate modelling and equally the almost scientific exploration of the human perception assisted by instruments of media technology. Its starting point is the sensate and conscious presence in our world. This includes various relationships between intrinsic and extrinsic experiences. (see Werner Jauk)The desired objective of the competition is a multi-perspective discussion of the present development, serving to sensualise the connections.Based on an „architecture of human perception“ (Klaus Nicolai) we differentiate exploration and modelling according to the following dimensions of human existence in time and space:_ cosmic_ global_ social_ cultural_ transcendental_ mental_ sensate_ psychic_ organic_ neuro-electric_ bio-chemical_ genetic_ (sub-)atomicMedia art reflects a culture, which is constituted from a global participation and networking of electronic technologies. How does this electronic networking and re-presence of our world affect our perception? How can our perception be modified in order to manage the networking potential adequately? How does the perception of the human inside and outside re-organise itself in this process? What significance does the internet in terms of social networking have for a culture of evolutionary self-organisation and a new structure of information, education and intelligence? How do the mediatisation processes affect the human perception in terms of specialisation and universalisation.How do the interactions between social actors change the social relations and the individual identity formation as a result of media usage and an increasing dependence from media. How do the technically mediated types of perception interact with the direct sensate types of perception?Artistic applications provide the opportunity for the public to practice a responsible way of perception in learning about an active participation in „test arrangements“. This helps to develop an appropriate attitude towards human and natural potentials. To this end the following is wanted: dynamic models for the exploration, testing and development of a multi-dimensional perception of body and space. It is essentially all about prototype examinations on the correlation between innovative technology and the cognitive as well as communicative processes of humans, but also between new media and traditional culture. Performative productions and installations of test arrangements should be given precedence in the funding by CYNETART festival.Performance formats/Test arrangements:I. The musicalised everyday life of digital culture – Automatic Clubbing(„PopCultureArt“)II. The internet as social site of reorganisation (Social-Art & Political-Art Network/Software)(NetSocialArt)III. The internet as virtual site of physical interaction and co-production (interactive and networked virtual environments)(BodyNetArt)IV. Parameters of physical being – perception of the inner world – the body as outer space (HumanScienceArt)
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Prepared by Marlon Barrios Solano for the event:New Frontiers in Technology - What's Next?
1/9/2010 9:00 AM - 11:45 AM
http://www.artspresenters.org/http://www.apapconference.org/
New Frontiers in Technology - What's Next?
APAP PROFESSIONAL DEVELOPMENT
1/9/2010 9:00 AM - 11:45 AM
Professional Development Track
Bold Business Moves
Session Focus
Technology
Facilitator: Anastasia Tsioulcas, Contributing Editor, Gramophone Magazine
Discussants:
Bruce Houghton, President, Skyline Music & Editor, Hypebot
Marlon Barrios Solano, Founder, dance-tech
Rene Barsalo, Director, Research and Strategy, Society for Arts and Technology
Chris Elam, Artistic Director and Choreographer, Misnomer Dance Theater
Technology continues to have a major impact on our lives, but is our field poised to ride the next wave? What is the next wave? This session will bring together a cadre of techno-savants who are asking new questions and pioneering ways to effectively harness technology to better serve the needs of the presenting field.
What is dance-tech.net
Using the most advanced social software platforms and rich multimedia internet applications, dance-tech.net provides movement and new media artists, theorist, thinkers and technologists an on-line space for accessing and sharing ideas, work, research and collaborative projects.
Barrios Solano introduces dance-tech.net and dance-techTV as a sustainable model of production and exchange of knowledge within a community of movement and mew media artits, theorists, technologists and organizations. The new internet or Web 2.0 architectures helps us to see Networks as the materialization of social dynamics, as sites of action, translocal presence and social innovation and sampling. They have become the most important emergent repositories of social and cognitive capital of a given community. dance-tech.net registers conversations, dialogues, performances, ideas and lives using the WWW as a site for a relational intervention on the boundaries of bodies, countries, disciplines and organizations.
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Dance Media Experts Share Innovative Ways to Promote Dance with Video! Learn Success Stories from some of the best in the field! Tuesday, January 12th. 9:00-10:00http://pentacleblogs.org/movetheframe/Read more…
Date: Thursday, January 075:30pm-7:30pmCreating a signature brand for yourself and your artwork helps to distinguish you from the competition, and build a connection with your customers. This class will focus on understanding what “branding” is all about, how to create an effective brand for yourself, and strategies for making the most of that brand.Homework: Develop a branding statement for your own work and career and integrate into your marketing plan.Go to Arts & Business Council for more information.
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How can you use Twitter, YouTube and blogging to collaboratively create and share choreography?The New York based Dance Theater Worskhop has created a project called Twitter Community Choreography.This is how it works: Each week Dance Theater Workshop has asked all their followers (today 1210 followers!!) to send them one movement (or nonmovement), then they put all the responses together into one dance and film it.
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Courtesy of Foofwa d'Imobilité
http://www.foofwa.com/
Part I: Inter-face to face-view
Merce Cunningham interviewed by Foofwa d'Imobilité - July 29 2000 - Vienna, Austria - 23 minutes –
“I knew that Merce had a video camera, so I gave him a cassette and asked him to record me as I was recording him. It gave an informality to the interview, which I like. The interview is important to me because it shows that Merce wanted his work to survive him, as he says it in numerous interviews until 2008. I happen to have it on tape.” - FdI
"Merce-Art Forever!" project
« Merce-Art Forever! » is a project by Foofwa d'Imobilite / Neopost Ahrrrt about the legacy of Merce Cunningham. It is composed of interviews, readings, manifestos, dialogs, and different viewpoints, all related to the present, past, and future of Merce's work. It is a way to study and promote this legacy, which is certainly one of the most important for dance in the past century. Foofwa will make these documents available to the public for free and non-commercial distribution, sharing (with credits of course) being the ultimate goal.
Check www.merce.org for more information on the Living Legacy Plan and activities of the Merce Cunningham Dance Company.
