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muto

Posted by patricia costa on April 3, 2009 at 4:00pm

Synchronous Objects - A Data Visualization Exploration

Posted by Doug Fox on April 2, 2009 at 1:33pm

Now that the William Forsythe/Ohio State University dance visualization project "Synchronous Objects" is up, I wrote:"Exploring William Forsythe's "Synchronous Objects" Website"What do you think about this ambitious visualization project for dance?Best,Doug FoxGreat Dance

Spring Thesis Dance Concert

Posted by Brittany on April 1, 2009 at 6:05am

Introductory Guide to William Forsythe's "Synchronous Objects" at OSU

Posted by Doug Fox on March 31, 2009 at 11:25am

The web-based "Synchronous Objects" launches tomorrow at Ohio State University. I just wrote the following introductory post about this project on Great Dance:"William Forsythe's "Synchronous Objects" at OSU Tomorrow"The purpose of this investigation is to develop new approaches to visualizing the underlying structures of a dance--in this instance, Forsythe's "One Flat Thing, reproduced."I'll be writing more about Synchronous Objects once it's up on the OSU website.Best,Doug FoxGreat Dance

Jackson and our time

Posted by CreationEditor on March 30, 2009 at 11:40pm

I have been reading about the connection and relationship of contemporary dance and pop music development and style history and how they feed of each other. A main figure in it is Michael Jackson who was invited at the age of 13 to teach Fred Astaire the Moonwalk.Jackson is a very impressive mover which is distilled into this clip!https://www.youtube.com/watch?v=qTfTcoXlVvQ

ENTER ACHILLES -

Posted by Deirdre Towers on March 27, 2009 at 7:30pm

See the clip from DV8's classic screen adaptation. Please add your comments as to the content, the direction of it, and its impact, whether emotional or physical, on you.

Digital Futures in Dance Symposia

Posted by Anthony Baker on March 27, 2009 at 5:00pm

Over the next two years, DanceDigital will be hosting a series of symposia exploring current trendsin Dance & Technology. The symposia will include contributions from eminent practitioners in thefield of dance and technology, dance artists and companies, venues and promoters.We will be exploring a variety of themes and provocations around the Dance & Technology theme.Our first symposium will be looking at the future of Dance & Technology,where it is going and what the future will hold. Contributors will include Kit Monkman (KMA),a Futurologist and a lecturer from a leading Arts and Technology University Course.There will be the opportunity to ask questions, discuss your own work and gain insight into thefuture possibilities and technologies for dance and the arts.To book your place on this FREE symposiumcall or email DanceDigital:»»call us: 01245 346036»»send a mail: bookings@DanceDigital.org.uk»»or download a form from our website: www.DanceDigital.org.uk

ON NETWORKS, DANCING AND THE PARALLEL ARCHITECTURES OF EMBODIED COLLABORATION

Posted by Marlon Barrios Solano on March 27, 2009 at 5:00am

by MARLON BARRIOS SOLANO dance-tech.net/ dance-tech TV/ dance-tech interviews Friday March 27th 09 Lecture for Arts, Media and Engineering Arizona State University 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. TRACES:

BATESONQUESTION? WHAT IS A HAND? QUESTIONS COMPOSITION/BODY/EMBODIMENT/COGNITION/REAL-TIME/SYSTEMS/DESIGN/INETERACTIONS/DISTRIBUTED/ECOLOGICAL/NETWORK EMERGENCE BOTTOM-UP DANCE AND TECHNOLOGY 2.0 FROM A LIST SERV TO A SOCIAL NETWORK DANCE-TECH.NET FROM DANCE AND TECHNOLOGY TO DANCE TO MOVEMENT TO MOTION INTERNATIONAL/TRANSLOCAL TRANSDISCIPLINARY GROUNDED ON THE DYNAMICS OF PEOPLE AND ORGANIZATIONS: KNOWLEDGE SHARING STRATEGIES/SHARING ALL RESOURCES. COLLABORATIONS, PARTNERSHIPS AND BARTERING: INDIVIDUALS VENUES DTW, Eyebeam, Dance New Amsterdam, STEIM, Hellerau, THE WAAG) HARDWARE: LEMURPLEX/MIDITRON SOFTWARE: CYCLING74/ OPENFRAMEWOKS TANGIBLE BENEFITS?? UNDER REPRESENTED GROUPS: RED SUDAMERICANA DE DANZA/ OPEN KNOWLEDGE INNOVATION??? HOW WE IDENTIFY IT SUPPORT IT META-FRAME-IT KNOWLEDGE BACKBONE/ENGAGEMENT: MODELING SUSTAINABLE PRODUCTION...YES YOU CAN... DONATION SYSTEM RELEVANCE DANCE IS RELEVANT AS KNOWLEDGE AND AS A SUBJECT ETHNOGRAPHY/ BOTTOM-UP INTERVIEWS: RESEARCH... MARKERS PROCESSPPROCESSPROCESS.... GIDEON OBARZANEK IVANA MULLER BEBE MILLER LISA NELSON ALVA NOE IVANA MULLER SUSAN KOZEL ANDREW SCHNEIDER JOSEPHINE DORADO ANGELO VERMEULEN SABINE SEYMOUR TRISTAN PERICH SYNDICATION/ VIRAL DISTRIBUTION

PARTICIPATORY CREATION OF KNOWLEDGE: COMMUNITY OF PRACTICE share know-how, the production effort and the product loose network of correspondents SAMPLING THE WAYS INTERVIEWS/NEWS REPORTAGE OPEN CLASSROOMS: Wesleyan University (lectures and access) University of Utah (skype talks) dialogue with the community/experts and novices SIBLING NETWORKSMETA-NETWORK MOVIMIENTO.ORG (SPANISH AND PORTUGUESE) DBM PARTICIPATION MAKES THE SITE DISTRIBUTED-UP CONVERSATIONS/DIALOGUE JUXTAPOSITION REACTION/INTENSITIES/RHYTHMS/SPEED/FLEXIBILITY EVERYTHING NEXT TO EVERYTHING

DANCE-TECHTV/ Mogulus platform COLLABORATIVE BROADCASTING/LINEAR...BROADCASTING...VIDEO ON DEMAND MAIN CHANNEL 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) AND NETWORK OF CHANNELS FOR LIVE BROADCASTING/LECTURES, PERFORMANCES, art projects (Movement Research Festival and Broadcasting station/workshops GRID LAB/Lebanon, France and Geneva)

Collaborative Creativity/Kaltura Motionplex.org Collaborative On-line video editing/In development Fall 2009 Collaborative creativity/in development NEW WWW AFFORDS: PRODUCTION OF SPACES FOR KNOWLEDGE GENERATION AND OPEN ACCESS INTERVENTION OF THE INTERNET WITH KNOWLEDGE NETWORKS LEAN FORWARD CREATIVE ENGAGEMENT AS EXCHANGE DIY DIWO RESEARCH WITHIN THE COMPANIES COMMUNICATION IS NOT A BOND THE BOND ID CREATED BY DOING IT TOGETHER Planning for COGNITIVE CAPITAL= implementation real time communications, relational archiving of knowledge, possibilities of active engagement. PLASTICITY/readiness for change and assimilation of experiences/learning DISTRIBUTED SELF-ORGANIZING SOCIAL COMMUNITIES=COMMONS=ECOLOGICAL

CONTESTING BOUNDARIES: BODIES, DANCE, DISCIPLINES, MINDS, INFORMATION, KNOWLEDGE, ORGANIZATIONS, COUNTRIES, MACHINES, LEARNING

DANCE CAMERA ISTANBUL 2009

Posted by Onur Topal Sumer on March 27, 2009 at 3:30am

“Dance Camera Istanbul 2009”II. International Dance Film FestivalCALL FOR SUBMISSIONS:The “Dance Camera Istanbul” 2nd International Dance Film Festival will be held in Istanbul, Turkey in between October 15th and November 15th 2009, focusing on video dance, dance on camera, dance photography and dance film screenings. Dance for camera is a collaborative fusion art form of choreography and filmmaking. “Dance Camera Istanbul” annually showcases international dance films, camera re-works and experimental movement-based films by contemporary video artists and choreographers from the student to professional level. There is no restriction on the subject.The festival supports films which investigate the ongoing search for movement and spaces, both in and out of bodies.The aim of the festival is to build a community for both dancers and filmmakers to come together, to present and promote both local and cutting edge international works, to share ideas, and to provide a collaborative experience for dancers and filmmakers as they work together to produce the final product.“Dance Camera Istanbul” also focuses on increasing attention and awareness of the collaborations between dance, film, visual arts and music as well as the different mediums and forms of dance. The goals of “Dance Camera Istanbul” are to offer a proper venue in which to screen and share the works, to encourage and educate student dance filmmakers, to spread the knowledge of dance for camera, and to deepen the understanding of Turkish and international dance film practices through panels, practical workshops, discussions and screenings.We are seeking enthusiastic individuals and groups who are strongly focused (or want to focus) on dance for camera work, video or multimedia installation collaborations. Examples include video dance, dance documentary, adaptation of a stage work or site specific creation, any kind of artistic and experimental work with kinesthetic energy and rhythmic design, and choreographic works that are created specifically for the lens of the camera and include a well- planned editing process. We invite you to be part of the “Dance Camera Istanbul Festival” family. Accepted works will be screened in various venues in Istanbul and throughout Turkey. In attendance will be Turkish and international dancers, filmmakers, musicians, photographers, artists and students, as well as both national and international audiences. During the festival, we will organize discussions between the artists, filmmakers and audience after the screenings.Dance Film Workshops and Lectures/PanelsThe workshops will be directed by acclaimed national and international dance and video artists, filmmakers and choreographers who will introduce different approaches to camera, dance and movement as well as providing information about video dance history, archives and links for further research. The workshops will take place at several dance studios and stages as well as access to indoor and outdoor spaces for filming. During the festival month, there will be national and international lectures serious on the dance camera work and the related fields. If you are interested in honoring us with your presence and lecture, please contact with us in regards to your possible topic. It would be our pleasure to start and organize a growing artistic environment and relationship.Partners and Sponsors“Dance Camera Istanbul” collaborates with several cultural institutions for visual artists, choreographers, performers and with many other highly appreciated contributors. Also we are delighted to partner with DFA (Dance Films Association) as touring partnership. Our sponsors and partners will be announced in the near future.SubmissionTo submit your work into the Dance Camera Istanbul Festival, please visit our website and fill the application-entry form. We will need 4 DVDs preferably in PAL format. The deadline is July 15th, 2009.By submitting your work you agree to give the rights to “Dance Camera Istanbul” to screen your work and archive it for the anticipated festival library.Please fill the online entry form our website. You may submit your film to the address below:Aylin KalemSantralistanbulE4 - 306Eski Silahtarağa Elektrik SantralıSilahtarağa Mah. Kazım Karabekir cad. No:1Eyüp - İstanbul Turkey 34060Please do not hesitate to contact us for further information and sponsorship opportunities.We are looking forward to welcome you all...Thank you!Dance Camera Istanbul Festival DirectorOnur Topal – Sümeronur.topalsumer@dancecamera-istanbul.orgwww.dancecamera-istanbul.blogspot.comwww.dancecamera-istanbul.orghttp://www.facebook.com/group.php?gid=44764578661

How to use Twitter: A Visual Guide for Dancers

Posted by Doug Fox on March 26, 2009 at 12:14pm

In new post, I wrote about the basics of using Twitter:"How to Use Twitter - A Visual Guide for Dancers"If you're on Twitter, please follow me so I can follow your tweets.Best,Doug FoxGreat Dance

Choreographing Gesture Controls for Interactive Devices

Posted by Doug Fox on March 25, 2009 at 11:57am

I just wrote post on Great Dance:"Choreographing Gesture Controls for Interactive Devices"I'd be very interested in what dance notators, movement analysts, choreographers and dancers think about creating movement vocabularies for controlling the latest generation of gesture-based computer interfaces and devices.Best,DougGreat Dance

Biomimcry & Dance

Posted by CreationEditor on March 25, 2009 at 9:30am

I always think in terms of video editing to create something that is a heightened reality because I have to squeeze real experience of movements and moments (space, soundscape, smells, 3D surround view) into a compressed framed 2D format.However, I want to keep my screendance close to life in its own movements because it is so close to our own bodily experience. No other form of editing or creation of video is so interested in how we actually physically feel about it. It is concerned and cares about the viewer, aims to translate to the audience the personal intimate experience of the dancer, dance and the spectators themselves. Video is also able to show and point out moments that we cannot see live but that are still there.This notion intrigues me very much but where do I look next...I always keep on looking at us, our human body, the dancer and the dance. However, I undertook a fantastic Butoh class with Lindsay John at Dancebase last week and his philosophy of looking at the world is really inspiring. During class he talked about a falling leaf he saw that landed over there and not over here and he wondered why it make this decision. Personally, I probably live 80% of my awake time in front of a screen, 10% training and the rest...not as much in my garden or just looking at nature as I wish.It relaxes me looking at my pets: my cockatiel does an incredible move where she brings her claw from behind her wing to the top of her head. My frog reminds me of our very basic, primal motions. In fact, my video about them is my most viewed clip on youtube!Shaky Froghttps://www.youtube.com/watch?v=YYhii81IUhMBut back to my train of thoughts on changing my perception on things. It is not enough to look at movements of nature but how does it feel and why. Referring to Janine Benyus in her presentation on "12 sustainable design ideas from nature": looking at a shell is not just pretty but ask why is it that way and the answer is: it is comfortable housing!https://www.youtube.com/watch?v=n77BfxnVlycOk, where I am going from here...I do not know but I like my starting point and happy to receive any feedback and comments about it. I am widening my horizon on not merely how does dance feel to us but how does nature feel about its patterns, structures and decisions. I expect the answers to be very pure, well reasoned and plausible but still intriguing and maybe even challenging.Wishes,Sabine Klaus Creation Editorhttp://creationeditor.co.uk/

This Week at Eyebeam: March 26 reception | Climate for Change, UK | P!oneers, Amsterdam

Posted by Eyebeam on March 18, 2009 at 5:35pm

This Week at Eyebeam: March 26 reception | Climate for Change, UK | P!oneers, Amsterdam

HV20 - the female way to shoot

Posted by CreationEditor on March 18, 2009 at 9:29am

Are you thinking of buying a new camcorder but you are on a budget? I recently wrote a review about my Canon HV20 for http://smiley-plus.com/ :Canon HV20 is a wonderful small camcorder that suits every filmmaker's budget, however, not necessarily the ones with big hands. As a woman I was looking for the perfect and professional camcorder that has all the settings on manual option as well as one that I can hold comfortably. I do not want to point on certain other cameras that do not have the shoulder option like the Canon XL1 but that are still head-heavy and literally impossible to be handled by anyone with tiny hands. And I found HV20, with 1.2lbs (without battery) it is light on your hands even if you attach the extra accessories like the wide angle lens and the microphone that both turn this little home video cam into your pro movie shooter. It is very attractive for women with its small dials and buttons, especially the zoom adjuster but I found it impossible to be used by a man. So ladies, it is your machine, do not give it to your man!Here are some standard information: HV20 records in HDV and SD DV onto miniDV tape and 10 times optical zoom but there is the option to attach a tele lens. The instant focus works very well but for the manual way there are the assistant functions of magnifying and peaking to get it all perfect. However, this camcorder is most famous for its native 25p in PAL mode which does not require any pulldown removal techniques making it so easy to work with in post!Some people say that HV20 does not work well in low lighting conditions, however, my first shoot I did with HV20 was at sun set and then in a dark forest using only a torch. HV20 handled the situation fantastically and you can watch it for yourself in my video TRENCH featuring the dancers Anthony Missen and Kevin Turner:https://www.youtube.com/watch?v=PciUp7-GsuoTo sum up, HV20 is a camcorder I would buy again!More indepth and useful information can be found on the HV20 dedicated website:http://www.hv20.com/Hope you enjoyed the review!written by Sabine Klaus Creation Editorhttp://creationeditor.co.uk/

Rehearsal Assistant: beta-testers needed

Posted by Stjepan on March 17, 2009 at 11:37pm

Hello,

We are looking for people to test "Rehearsal Assistant", an application for the Android mobile phone platform that is intended to help with the rehearsal process. Rehearsal Assistant is now available through the Android Market so you can download it directly to your phone.Here is a description of Rehearsal Assistant:Rehearsal Assistant for the Android mobile phone platform allows you to record your thoughts and observations during an event, and to review and email the recordings afterward. If you are a choreographer or director watching a rehearsal of your work, this can help you make note of the feedback you want to share with the cast. If you are a researcher in the field or observing an experiment, this can help you record events of interest. If you are a musician or writer, it can help you record and remember your spontaneous moments of inspiration.If you have an Android phone (T-mobile G1 phone / "Google-phone"), please consider downloading this application and giving it a try. Any and all feedback would be much appreciated!

stromereien 09 Performance Festival Zürich

Posted by robi alexander on March 17, 2009 at 7:30pm

Anne Rosset + Robert Alexander> Une Histoire D`Amour <3 Bilder. 10 Ballerinas. 10 Schlagzeuger. 30 Minuten.(+ 10 Ghettoblaster, 10 Taucherbrillen, 10 Sonnenbrillen, 10 Sommerhüte,10 schwarze T-Shirts, 10 Spitzenschuhe, 10 Sommerkleider,1 Jogger, 1 Viadukt und jede Menge Wasser)Künstlerische Leitung:Anne Rosset + Robert Alexander(Pigs And Birds Performance Projekte)Projektblog: Une Histoire D`Amour Anne Rosset Robert Alexander Pigs And Birds Performance Projekte

Reblogging:Creating Dances from Wikipedia's HTML Tags by Doug Fox

Posted by Marlon Barrios Solano on March 17, 2009 at 7:00pm

Doug Fox writes about the interesting work Ursula Endlicher': In 2006, I wrote about Ursula Endlicher's multimedia and performance installation "Website Impersonations: The Amazons," in which she generated choreography based on HTML tags. Endlicher continues to generate choreography from underlying webcode and explores new approaches to encouraging visitors to participate in this creative process. Last December, Endlicher and her dancers performed "The Ten Most Visited #6 - www.wikipedia.org" at the LabFactory in Vienna. You can learn about this installation in which movement phrases were generated from Wikipedia HTML tags. And I grabbed screen shots of her video of this December performance to show how the installation was configured. Go to the post

NYT on Kentridge

Posted by Ashley on March 15, 2009 at 9:28pm

A New York Times Article on William Kentridge

William Kentridge

Posted by Ashley on March 15, 2009 at 3:57pm

I've been looking at William Kentridge's work a lot lately and had the opportunity to see an exhibit of his work at SFMoma yesterday. I was blown away by how intricately he treads the line between over stimulation and a delicate and subtle emotionality. His multi-media oeuvre also tends to include a great deal of choreography. Although the exhibition blurb coined Kentridge as someone who looks at painting, drawing, film etc, they didn't notice the implicit gesture toward choreography that accompanies his work. I found both historical reference and robotic work. This is aside from the plethora of projections that are necessary to convey Kentridge's message about South African politics and more.

Caroline Langill, Shifting Polarities/Exemplary Works of Canadian Electronic Media Art Produced Between 1970 and 1991

Posted by Marlon Barrios Solano on March 14, 2009 at 6:28pm

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Great essay and Video interviews by one of the most prolific Canadians Researchers on electronic art. The canon of visual art is always a site of resistance for artists who have been excluded from it. It is in flux, it is contestable, and it is inevitable. My intention for this research project has been to reconstruct the history of Canadian new media art through an assemblage of pioneering works produced by artists working across the disciplines of art, science, and technology. Canada’s important contribution to the history of this genre has not been recognized by its art historians, curators, or collectors. While this is not intended to be a comprehensive list, the artworks described herein have been significant in establishing Canadian artists as pioneers of new media art. The anti-canonical and anti-institutional nature of electronic media art raises the question: Why propose a canon of electronic media art at all? If canons are inevitable and created through “official” channels such as academic scholarship, curated exhibitions, and museum collections, and if there are no attempts made to reconstruct the excluded history, then electronic media will suffer the same consequences that others excluded from the canon, such as women, have experienced. Go to the original site Interviews:

Note: this page contains paid content.

Note: this page contains paid content.

Note: this page contains paid content.