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TANZPLAN POTSDAM: ARTISTS IN RESIDENCE

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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Dancers, Support the Dance Community by Taking this Artist Survey on Media Marketing, Film, & Video.

Posted by Pentacle's Movement Media on January 11, 2010 at 8:34pm
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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CYNETART Competition 2010 || Self-image of CYNETART-Festival

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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dance-tech.net: Shared movements, embodied knowledge and the New Internet

Posted by Marlon Barrios Solano on January 8, 2010 at 8:00pm
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.
Find more videos like this on dance-tech.net
TRACES: DANCE/IMPROVISATION/NEW MEDIA/COGNITION BATESON QUESTION? WHAT IS A HAND? RESEARCH COMPOSITION/BODY/EMBODIMENT/COGNITION/REAL-TIME/SYSTEMS/DESIGN/INTERACTIONS/DISTRIBUTED/ECOLOGICAL/NETWORK EMERGENCE BOTTOM-UP 1.-COMMUNITY Connecting People DANCE AND TECHNOLOGY FROM A LIST SERV TO A SOCIAL NETWORK WEB 2.0 OPEN PLATFORM DANCE-TECH.NET FROM DANCE AND TECHNOLOGY TO DANCE TO MOVEMENT TO MOTION: INTERNATIONAL/TRANS-LOCAL TRANS-DISCIPLINARY GROUNDED ON THE DYNAMICS OF PEOPLE AND ORGANIZATIONS KNOWLEDGE SHARING STRATEGIES/SHARING ALL RESOURCES. COLLABORATIONS, PARTNERSHIPS AND BARTERING: INDIVIDUALS VENUES DTW, Eyebeam, STEIM, TMA The Hellerau, Reverso, THE WAAG TANGIBLE BENEFITS?? DANCE THEATHER WORKSHOP HARDWARE: LEMURPLEX/MIDITRON SOFTWARE: CYCLING74 2.-KNOWLEDGE What is dance anyway? RELEVANCE DANCE IS RELEVANT INNOVATION??? HOW WE IDENTIFY IT SUPPORT IT RE-FRAME IT KNOWLEDGE BACKBONE/ENGAGEMENT: MODELING SUSTAINABLE PRODUCTION OF INTERVIEWS > 100 INTERVIEWS: KNOWLEDGE BACKBONE... AS KNOWLEDGE AND AS A SUBJECT ETHNOGRAPHY/ BOTTOM-UP PROCESSPPROCESSPROCESS.... GIDEON OBARZANEK IVANA MULLER BEBE MILLER LISA NELSON/TUNNING SCORES ALVA NOE/PHILOSOPHY OF MIND IVANA MULLER/CONCEPTUAL DANCE European Tele-Plateaus Phase 2/Madrid ANDREW SCHNEIDER/PERFORMANCE AND WEARABLE interfaces JOSEPHINE DORADO/MIXED REALITY PERFORMANCES ANGELO VERMEULEN/BIO ARTS SABINE SEYMOUR/WEARABLE FASHION TRISTAN PERICH/NOISE AND CIRCUIT BENDING PERFORMER Knowledge Lineages? AN EXAMPLE...
Find more videos like this on dance-tech.net

Find more videos like this on dance-tech.net
SYNDICATION/ VIRAL DISTRIBUTION PARTICIPATORY CREATION OF KNOWLEDGE: loose network of correspondents INTERVIEWS/NEWS REPORTAGE PARTICIPATORY JOURNALISM EXAMPLES OF COLLABORATION: WITH CRITICAL CORRESPONDENCE (NYC)
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SABINE KLAUS (SCOTLAND)

CODA KEDJA Opening Event Oslo Norway from Creation Editor on Vimeo.

DEBORAH HUSTIC (CROATIA) USE OF INTERNET NATIVE TECHNOLOGY EMBEDDED IN FESTIVALS/OPEN LAB IN FESTIVALS WORLD GRID LAB
Find more videos like this on dance-tech.net
3.-DANCE-TECHTV COLLABORATIVE BROADCASTING/LINEAR...BROADCASTING...VIDEO ON DEMAND CURATED LIVE:Turkey, London, Venezuela, Switzerland, NYC. Content donated by more than forty artist: all continents Academia and independent broadcasters ASSOCIATE PRODUCERS (any member of the networks) LIVE BROADCASTING/LECTURES, PERFORMANCES, experimental art projects (Movement Research Festival and Broadcasting station/workshops GRID LAB/Lebanon, France and Geneva) INTERACTIVE BROADCASTING... VIRAL DISTRIBUTION SPONSORED SPACE MORE: SIBLING NETWORKS MOVIMIENTO.ORG (SPANISH AND PORTUGUESE) 3000 members USE IN CLASSROOMS: Wesleyan University University of Utah Allow students a dialogue with the community/experts and novices PEERS NEW WWW AFFORDS: LEAN FORWARD APPROACH PRODUCTION OF SPACES FOR KNOWLEDGE GENERATION AND OPEN ACCESS INTERVENTION OF THE INTERNET WITH KNOWLEDGE NETWORKS CREATIVE ENGAGEMENT AS EXCHANGE/GENEROSITY DIY DIWO DISTRIBUTED CONVERSATIONS/DIALOGUE EVERYTHING NEXT TO EVERYTHING AGGREGATION MATCHING MASH-UP COMMUNICATION IS NOT A BOND THE BOND IS CREATED BY DOING IT TOGETHER PARTICIPATION MAKES THE SITE CREATION OF AN INFRASTRUCTURE OF TRUST AND TRUST IN THE INFRASTRUCTURE SOCIAL COMMUNITIES=COMMONS=ECOLOGICAL REFLECT THE LOGIC OF THE SOCIAL LIFE CULTURE IS SOCIAL CONTESTING BOUNDARIES: BODIES, DANCE, DISCIPLINES, MINDS, INFORMATION, KNOWLEDGE, ORGANIZATIONS, COUNTRIES, MACHINES, LEARNING ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ LIVE PROCESS PRODUCT ART RESEARCH KNOWLEDGE COLLABORATION CREATIVITY ORGANIZATION COMPLEXITY RELATIONAL CONNECTION PRESENCE ECOLOGICAL MOBILITY REAL-TIME SOCIAL NETWORKS COMMUNITY PARTICIPATION DEMOCRACY NEW INTERNET: CONVERGENCE API____APPLICATION PROGRAM INTERFACE: CONNECTIONS BETWEEN APPLICATIONS RSS____FLOW OF CONTENT .... MASSIVE DATA BASES/DB DRIVEN SITES ON-LINE VIDEO OPEN PLATFORMS BOTTOM-UP ARCHITECTURES GENEROSITY PRINCIPLES (PROSUMER/ LEAN FORWARD) UGC COLLABORATIVE CREATIVITY EMERGENT CLUSTERS OF KNOWLEDGE SYNCHRONOUS/ ASYNCHRONOUS
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Branding - Artist's Professional Toolbox

Posted by Arts & Business Council on January 4, 2010 at 5:04pm
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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Dance Theater Worskhop's Twitter Community Choreography

Posted by Christopher Engdahl on January 1, 2010 at 8:29pm
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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On Dance-techTV: Inter-face to face-view: Merce Cunningham interviewed by Foofwa d'Imobilité - July 29 2000 -

Posted by Marlon Barrios Solano on December 31, 2009 at 9:00pm
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.
Watch live streaming video from dancetechtv at livestream.com
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The Best Dance of the 00s

Posted by Christopher Engdahl on December 31, 2009 at 2:30pm
The best dance of the 00s!First but not least, in 2008 Barack dances his way to his new task in Dance Off!In 2006 the Bande à Part dance is shown for the first time at You Tube.i.e. All All Over Over All All et. al by Mårten Spångberg and Tor Lindstrand is shown at The House of Dance in Stockholm, Sweden in 2002. Giving insight into the way images of images of images are produced, reproduced and mediatised.Now going back to the future, I look back to January 2009 and the T-mobile Dance that is presented at Liverpool Street Station in London. There is a clear aim; to increase the market value of this specific product, and to have a dancing moment at one of the most busy places in London.The piece Xavier Le Roy is created in 2000 with Jérôme Bel as its author and Xavier Le Roy as its creator. This piece, at the dawn of the new Century, indicates an increase of the dancer him/herself as author/creator/mediator. I haven't seen this piece but heard and talked about it, experienced it through the magic of reference. Maybe someone else have had a first person encounter with this piece?Who would have thought that the dance with one of the decade's largest audience (have had more than 133 million spectators up until today) would be an American motivational speaker doing a dance remix? Here's Evolution of Dance from 2006.What's your best dance of the 00s?
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On dance-techTV: Networked Cultures (dir. Peter Mörtenböck and Helge Mooshammer), 2008 (105 min.)

Posted by Marlon Barrios Solano on December 31, 2009 at 12:00am
As a new year feature we are honored to be able to stream the documentary Networked Cultures directed by Peter Mörtenböck and Helge Mooshammer, 2008 (105 min.) With an emphasis in translocal exchanges and collaboration Networked Cultures provides a filmic archive of practitioners from the fields of art, architecture, theory and activism talking about their collaborative work in the light of global cultural transformation. The film features conversations with Özge Açıkkol, Azra Akšamija, Ayreen Anastas, Ricardo Basbaum, Helmut Batista, Jochen Becker, Ursula Biemann, Sylvie Blocher, Stefano Boeri, Katherine Carl, Branka Ćurčić, François Daune, Igor Dobričić, Iacopo Gallico, Erden Kosova, Olga Lopoukhova, Margarethe Makovec, Philipp Oswalt, Kyong Park, Marta Paz, Tadej Pogačar, Marjetica Potrc, Oliver Ressler, Irit Rogoff, Marco Sančanin, Güneş Savaş, Florian Schneider, Pablo de Soto, Srdjan Jovanović Weiss, Eyal Weizman and Seçil Yersel. For more information on the Networked Cultures project see: www.networkedcultures.org You can also watch it the dance-techTV page on dance-tech.net page or in the dance-techTV page in Livestream
Watch live streaming video from dancetechtv at livestream.com
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Breaking eggs

Posted by Deirdre Towers on December 18, 2009 at 5:14pm
Did anyone predict a year ago how apt would be the idiomatic expression ‘You can’t make an omelette without breaking eggs.’ So many metaphoric omelettes have been made in the last year and so many “eggs”/ lives have been broken, so many systems and structures have been shaken. According to the internet site, The Phrase Finder, this expression is a loose translation from the Russian phrase "to chop down a forest, splinters will fly" ("lyes rubyat, shchepki letyat") . Both the Russian and English expressions have survived for a century because of their ability to create instant understanding of the chaotic repercussions of change. Not all of us who profess to want change are fully prepared to duck those “flying splinters.”Director/dancer Naomi Stikeman from Canada along with choreographer Crystal Pite filmed an unforgettable image in their 2009 Bravo!FACT supported short PINK NAVIGATOR.
We see a woman extend her leg out of bed to gingerly place an erotically arched barefoot on a floor strewn with eggs. The eggs, outside the kitchen and the barnyard, seem to be a poetic displacement and a potent symbol of birth bypassed. As the dancer gracefully passes through the treacherous terrain, leaving the eggs intact, we appreciate her deft avoidance of walking on egg shells.The 2010 Dance on Camera Festival offers a treasure of uncanny images. Perhaps more than the virtuosity of dancers (though we are thoroughly charmed by that of the Cambodian artist Sokvannara Sar as profiled in DANCING ACROSS BORDERS) or screen adaptations of superb stage works (though hinted at in URBAN BALLET), the participants in the Dance on Camera Festival will remember the bold, personal images, the visual language of the filmmakers.At press time, I am excited about the prospect of meeting this Saturday Blanca Añón, the set designer of CINETICA, one of the shorts nominated by the Jury for the Festival prize. The environments she created for this short directed by Ana Cembrero are extraordinary. A New York University/MFA Candidate, 2012, Blanca is here from her native country Spain, working on a visual and dramaturgical research project titled, “Evolution of the Christian Church Space.” What a provocative area of study. How indeed did the spiritual space for each religion become defined? How do dancers, many who consider their performing space sacred, create the environments that fully communicates what they have to share.Many have set the value of dance films, the pursuit of making dance films as akin to creating a language that can be universally understood. In place of written symbols or sounds, the dance filmmaker's means of communicating is through images that involve the body, mind, spirit. No need to rush out to buy the Rosetta Stone software to understand the language of dance films. It doesn't exist yet. But how can one learn the secrets of communicating with the language of dance films? Start by attending the next Dance On Camera Festival!
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