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Call for professional choreographers, dance companies and directors who want to participate in the Video Dance Showcase, to be held in Almada - Portugal, between September 19 to October 6, 2024.

The Video Dance Showcase is a section of the Quinzena de Dança de Almada - International Dance Festival, this year in the 32nd edition.

- The organisation will assure the conditions for the presentation of the selected pieces, being responsible for the programming and promotion of the presentations.

- The organisation will provide space and technical conditions for the presentation of selected videos.

- The organisation will be allowed to record and photograph the event and use excerpts of the pieces for promotion, archive, and educational purposes.

- The organisation will choose the location and time of presentation, within the duration of the festival.

- The authors are invited to attend the screening and participate in the presentation if they have the possibility to be present.

The submitted proposals must be:

- Works of Video Dance with a duration of 8 minutes or less.

- Presented by video directors, choreographers, dance companies or other institutions that hold the rights of presentation (proof of author's permission for presentation in the festival must be sent if the application is approved).

Online application form available here: https://forms.gle/YtXEMpkmi5rKmZ3L8

Dealine for applications: 8 April 2024

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Novatopia

12383722686?profile=RESIZE_180x180Hello Dance and Tech for ever lovers,

Natalya Velikanova, digital artist, and myself are creating a new digital hub called Novatopia (https://novatopia.fr/), based in Toulouse, France.

We offer workshops and residencies on VR, AI and dance.

Please find the program in the site itself. Sorry it is not yet translated in English.

Novatopia: Digital Hub Toulouse, Occitania, and more to come ….A new time-space where artistic and technological innovation meet to create a limitless creative lanscape, paving the way to the expression of new digital forms and immersive experiences in Toulouse and in its proximity.
Co created with @nataliya.velykanova (@gate22official)
It would be a pleasure to meet with you in some of the events ….
#workshop #conference #creation #art #dance #performance #music #AI #Toulouse #Novatopia

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Inspired by Nahuel: Marlon Barrios Solano delves into generative design and human-computer interaction at Lake Studio Berlin, inspired by Nahuel Gerth's innovative approaches. Read more

Meta-fictions: Entangled with Odd Kins: Reflect on the interplay between dance, AI, and narrative in Marlon Barrios Solano's latest project, showcasing unpredictable artistic evolution. Explore further

Unfinished Fridays #106: Don't miss a unique evening at Lake Studios Berlin on February 23rd, 2024, featuring new works by resident artists and special guests. Details here

Sacred Economics (2019 Remix): Engage with Charles Eisenstein's ideas on transforming our economic systems towards sustainability, presented in a thought-provoking remix. Watch now

Poetics of Encryption Exhibition 24: Visit KW Institute for Contemporary Art from February 17 to May 26, 2024, for an exhibition exploring digital tools, secrecy, and the cultural implications of technology through the work of over 40 international artists. Learn more

Stay informed and inspired with this week's selection of engaging events and exhibitions!

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Inspired by Nahuel

Immersing myself in this residency at  Lake Studio Berlin, I have been inpired by the young designer and creative coder Nahuel Gerth. Based in Prague, he is not just a designer, but a visual storyteller, playfully weaving together the threads of science, arts, technology,  with  the laguage and tools of generative design. I am inspired by his passion for innovation and playfullness, while exploring  the boundaries of human-computer interaction and design.

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Nahuel is also a new dance-tech.net member.

 

PLAY WITH SOME OS HIS LIVE APPS!

Dancing Team https://nahuelgerth.de/tools/dancing-team/

Digital Twin https://nahuelgerth.de/tools/digital-twin/

Nahuel, plays with  form, code, and emboiment. He uses procesural design for the web as a medium of art and playfully expands interaction with elegamt design. Visit  Nahuel's Website and follow his journey on Instagram @NahuelGerth.

🖌️ Contrast and Identity 🖌️

One facet of Nahuel's work that profoundly resonates with me is the stark contrast it presents between the materiality of emboiment and slick graphic dynamic 2D design. He juxtaposes algorythmic design with the material reality of embodiment. This interplay between Nahuel's digital geometies and my corporeal existence creats a compelling narrative tension. 

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impossible simplicity
Day 2 AIR Lake Studios Berlin
Concept, programming, video and performance by Marlon Barrios Solano
https://marlonbarrios.github.io/body-tracking-pose/

🎨  Residency Experiences 🎨

t Lake Studio Berlin, my residency immerses me in a world where art and technology seamlessly blend to create a new frontier of expression. Armed with tools like p5.js and MediaPipe, coupled with the flexibility of web-based platforms, I sculpt interactive, generative environments that transcend traditional boundaries. These digital dances, born from code and creativity, exist as fluid experiences accessible to all, embodying the inclusive spirit of open-source technology.

Through my exploration, I strive to foster collaboration and inclusivity within the artistic community. Every keystroke and algorithmic tweak represents not just artistic creation, but also a commitment to sharing knowledge and insights. The LapTop Dances Prototype, a culmination of concept, programming, and performance, serves as a tangible manifestation of this ethos.

As I delve into realms of creative coding, machine learning, and generative AI, both in text and image, I anticipate the evolution of participatory performances that blur the lines between the digital and physical realms. Stay tuned for updates as I unveil the results of this exploration within the Laptop Dances | Soft Spaces project.

For ongoing research and developments, visit Marlon Barrios Solano's website.

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 the body of the text
LapTop Dances Prototype
Concept, programming and performance by Marlon Barrios Solano
Code and live app here:
https://github.com/marlonbarrios/the_body_of_the_text
7th day of AIR at @lakestudiosberlin

In this residency I am researching creative coding, machine learning, generative AI  (text and image) and participatiry improvisational performance.

https://marlonbarrios.github.io/

I will be presenting some of tis reserach very soon and it is part of the project Laptop Dances | Soft Spaces.

#ArtAndTechnology #GenerativeArt #DigitalSculpture #InteractiveArt #CreativeJourney #dancetech

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Reflecting on the culmination of our residency at Lake Studios Berlin in November 20th 2023, “Meta-fictions: A Fugue entangled with several odd kins and intelligences” represents a significant milestone in my journey exploring the realms of generativity, dance, and AI. This performance was not just the result of collaborative efforts but also a testament to the boundless possibilities that arise when different worlds of creativity and technology intersect.

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Throughout the residency, my focus was on leveraging the capabilities of generative AI, to create an innovative choreographic tool also inrelation with the history of the use of rule systems and improvisational structures by dancers and actors. We iengaged in a dynamic dialogue with AI. We created a generative loop of continuous improvisation in collaborations with AIs. This process illustrated the true essence of generativity — an evolving, unpredictable artistic expression.

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In “Meta-fictions,” we delved into the realm of self-aware storytelling. The performance was a conscious blend of fiction and reality, constantly evolving and reshaping itself based on the interactions between the dancers, AI, and the audience. This approach allowed us to explore the narrative in a way that questioned and played with the very nature of storytelling in the digital age. We collaborated and performed with fabulation engines.

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A key aspect of the residency’s outcome was its rich tapestry of cultural influences due to our nationalities and complex histories: Venezuela, Mexico and Spain. From ancient indigenous chants to the modern rhythms of Spanish pop and American hits, the musical landscape of the performance was diverse and vibrant. The inclusion of Miguel Bose’s iconic performance in drag from Almodovar’s “Tacones Lejanos” brought an element of cinematic flair, merging music, film, and dance. The movements, inspired by the dramatic essence of bullfighting, connected our digital creation with deep-rooted cultural expressions. Longings, belongings and exiles were present.

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In this project, AI took on multiple roles — as a repository of memories, a source of imagination, an evidence of cultural mashup and as collaging unique worlds. Durinf the process, AI-generated visuals of ethereal forms of jellyfish and algae, were not just artistic elements but symbolized the blending of the natural and digital realms, hight art conceptuality and fantasize about alien rituals. These OddKins represented the symbiosis of life forms. We watched Donna Haraway documentary and also sang karaoke. Working with LLMs is going meta all the time.

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As I look back on “Meta-fictions,” I see it as an exploration in the field of performance art and installation. It’s a vivid example of how computation and AI happens is time and time happened in semantic realms. This residency at Lake Studios Berlin was an opportunity to navigate the uncharted (yet familiar) waters of generativity, AI, and dance improvisation. Stuff that changes in real-time.

Thanks to the artists collaborators in this residency Dakota Comin, Cesar Rene Perez, and Vera Rivas and the support of Lake Studios Berlin.

All images are from Maria Kousi and were taken in November 17th 2023.

Read experimental process documentation on Lake Studios Berlin blog

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Sati-AI is not intended to be a monolithic knowledge base on Buddhist meditation practice and theory, instead, it is designed to embody and augment my interdisciplinary research path in relation to my Vipassana meditation practice. My art and research traverses cognitive science, dance improvisation and choreography, contemplative practices, art and technology and software development. In Sati-AI, early buddhist knowledge is an attractor. Sati-AI is imagined as an embodiment of the distributed, uncertain, and queer condition of not having a center, a rigor necessitated by the state of knowing not knowing. Sa
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BIONICA AV CALL FOR ENTRIES

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BIONICA AUDIOVISUAL IS A PROJECT BY BIONICA WOMEN, ART, TECHNOLOGY AND SOCIETY FROM BARCELONA-SPAIN. 

BIONICA purpose of bionica is to vindicate thinking, production and and the artistic and technological practices carried out by women. 

In this first version of BIÒNICA are interested in exhibiting a diversity of audiovisual proposals from all over the world. 

The call extends to all artists regardless of their gender who deal with issues related to women and enthusiasts of film, dance film, video or documentary.


Biònica Audiovisual will be held online, based on the website www.bionicas.net as well as an online presentation in the context of Biònica women, art, technology and society found remotely from the city of Barcelona between 27 and December 30, 2021.

DEADLINE :  D-2Oth 

SUBMIT HERE

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Dance and Music: The 21st Century Direction.

Manjunan Gnanaratnam.

Brief:

 

The Avant-Garde of any art form is spearheaded by its Artists, and then documented by its Scholars, Theorists & Historians. During the 20th Century, Dance [Concert Dance], with the Kinesthetic Body as its instrument, Deconstruction as its primary process for investigations, Movement Vocabulary as its language, and Choreography as its creative outlet, examined its inherent Multi-Disciplinary identity extensively resulting in the development of Modern Dance, followed by Post-Modern Dance, leading us into the 21st Century. Music/Sound, an integral component of this Multi-Disciplinary identity of Dance, negotiated these developments through both period’s into the latter part of the last century establishing a direction in Music that is now specific to Dance. However Scholars and Theorists on this are yet to emerge, leaving the discourse on the subject to those from both Music and Dance fields to collaborate on viewpoints when called upon, deferring to each other for conclusions. Hence, until Dance Music Theorists and Scholars emerge, those who don’t have to collaborate on the subject for analysis, my below diagram, incorporating Yvonne Rainer’s from 1980, reflects the extensive developments in this collaborative art form of Dance and Music that occurred during the 20th century, beyond the situational Micro Cycles of Limited Affect/Effect through the ubiquitous, conventional Dance and Music collaborations, to the extensive Macro Cycles of Complex Affect/Effect of the feedback loops and pathways of symbiotic artistic flow of influence, and of extensive Multi-Disciplinary explorations that occurred between some of the critical figures from both Music and Dance. This in turn influenced both art forms, including extending the creative capabilities of the Artists beyond the conventional practices of their Art, while establishing a specific, complex lineage and practice of Dance Music and pointing to where future directions of it will come from. The discourse on this specific subject doesn’t have to begin at point A, it can continue from point R..

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 ©2019. Manjunan Gnanaratnam

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Call for Provocations & Panelists: 

What aspects of your practice/research are invisible to your collaborators? 

 

Extended Deadline for Panelists: October 5th, 2019

Extended Deadline for Provocations shared at MOCO: October 9th, 2019

Provocations are also accepted on a rolling basis, before, during, and following MOCO 2019.

 

We invite succinct provocations addressing the above question from diverse perspectives. We want to hear from artists and scientists, philosophers and robots, professionals and students, and everyone in between and beyond. 

 

The goal of the provocations is to incite dialogue about the ways in which tension within collaborative and cross-disciplinary work can be at once challenging and generative. We aim to draw out and mobilize critical differences between the motives and methods of various disciplinary communities as a source of mutual inspiration and innovation. 

 

Provocations may take a range of forms (text, images, audio, video, etc.), and should be max 250 words or 60 seconds for time-based media. Co-authored and multilingual provocations are encouraged, and multiple submissions are welcome.  All provocations will be posted online (moco19.provocations.online) and shared  via social media platforms on a rolling basis. Provocations submitted in advance of September 30, 2019 will also be shared in the context of the Conference on Movement and Computing (MOCO) 2019 to take place in Tempe, Arizona from October 10-12, 2019. 

 

Those who plan to attend MOCO 2019 may also indicate their interest in being selected to participate in a 90-minute panel discussion on “Generative tension in cross-disciplinary collaboration” during the conference. Following MOCO 2019, we plan to invite submissions for a peer-reviewed publication that elaborates themes from the event. If you wish to be considered as a panelist, please see the Call for Panelists, and  submit your provocation by September 30, 2019. 

 

In the provocations, as well as the panel, contributors are asked to draw on their own experiences to address questions such as:

  • What is included and excluded, intentionally or not, from the representations of time, movement, bodies, interaction, gestures, etc. which are integral to your practice/research? In what ways do these exclusions matter to you?
  • How does that which is invisible or excluded also iteratively shape your practice with regard to movement and computing?
  • Who gets to claim expertise and ownership of knowledge and know-how related to movement versus computing—or alternately, in both areas—and what are the implications of acting as a representative of your disciplinary community in a cross-disciplinary context?
  • What is the role of collaboration, both implicit and explicit, in projects related to movement and computing? In past MOCO proceedings, who becomes implicated (beyond stated authors and participants) in papers related to transmitting choreographic knowledge, producing software platforms to support learning in dance and music, and movement analysis more broadly?

 

For further thematic guidance, please see the Extended Abstracthttp://www.moco19.provocations.online/abstract.

 

If you have any questions, please contact Jessica Rajko, Teoma Naccarato and John MacCallum at: moco19.provocations@gmail.com

 

Submit your provocation here: https://forms.gle/B484eGpmEvMVrMvn7

 

For more, visit:

http://www.moco19.provocations.online/

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Hi!

Its been a while, but I wanted to share the link to download this past year's Contemporary Performance Almanac 2018. The Contemporary Performance Almanac 2018 is a crowd-funded and open-source overview of contemporary performance created or presented during the 2017/18 season available for touring now.

Here is the link!

https://contemporaryperformance.com/2019/04/09/free-download-contemporary-performance-almanac-2018/

Best,

Caden Manson

============================

Big Art Group

Contemporary Performance Network

Special Effects Festival

============================

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Resume Objective Samples

I'd like to share some resume objective samples with you.

Wait! Before I do that, I want to take the time to clearly define exactly what the purpose of the resume objective statement is professional nursing resume writers. I'll also show you the biggest mistake people make in writing their objective.

So, what is a resume objective statement?


First, let me tell you what it isn't. The resume objective is not the place for you to write about your own desires. I know that is what the vast majority of people write for their objective. I am sure you have seen it too.

Let me give you a couple of examples of what I am talking about.

Bad Resume Objective Samples


Obtain a challenging customer service position at a progressive company where I can advance to more rewarding positions.

PC support technician for a small company.

Okay. Those are examples of what you don't want to do.

This is why you do not want to write like that in your resume objective.

Purpose of the Resume Objective Statement


The objective statement is your chance to tell your potential employer how your goals align with theirs. Sure you can use it to give them an idea of what your own goals are but you want to keep the focus on them.

Read the samples above again. Do you see anything in those statements that benefit the company? No. It's all about the job seeker and what they want.

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Thanks to Dancing Opportunities I'm happy we have been selected to FIDCDMX (Mexico City)

with my last work The Rebellious Body (Connecting Fingers Company)interpreted by Nicola Campanelli12249590665?profile=original.

You can read the entire article here:

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Hey all,

since 2013 our dance research project “Motion Bank” has been organising “Choreographic Coding Labs 1” (CCLs). The format … »offers unique opportunities of exchange and collaboration for digital media artists (you?) who have an interest in translating aspects of choreography and dance into digital form and applying choreographic thinking to their own practice.« To illustrate what we mean here is a short documentation from our CCL in NYC in 2015:

The upcoming edition is very special as it is A) happening in Mainz, Germany, where the Motion Bank project is now based and B) is part of a larger funded (by Kulturstiftung des Bundes) cooperation of Motion Bank, Kunsthalle Mainz and Staatstheater Mainz. The collaboration, which is called “Between Us”, deals with the exchange and transformation of knowledge from and between the participating disciplines: art, dance and science. Not only will the CCL mark the starting point of the collaboration and creation of a new dance piece by Finnish choreographer Taneli Törmä, it will also inform the process of exchange between all participating artists.

If this sounds remotely interesting to you, check our full announcement and maybe apply here:
http://choreographiccoding.org/labs/mainz-between-us-september-2018 3

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Call for Provocations: What escapes computation in interactive Performance?

SUBMIT A PROVOCATION - OPEN TO EVERYONE!

We are inviting short, succinct provocations addressing a question of vital importance to those interested in the intersection of movement and computing: What escapes computation in interactive performance? All provocations will be posted online in advance of the Conference on Movement and Computing (MOCO) from June 28-30, 2018 in Genoa, Italy, and will serve as the basis for a panel discussion at the conference.

 

We encourage submissions from professionals and students, artists and scientists, philosophers and robots, and everyone in between and beyond.  You are welcome to submit a provocation regardless of plans to attend MOCO 2018. ALL PROVOCATIONS WILL BE SHARED ONLINE.

 

The provocation should be max 250 words or 60 seconds for time-based media (e.g. video, audio, slides, ?). If you wish to include media other than text, files up to 100MB can uploaded via the google form: https://goo.gl/forms/wZ6Ed1gkWT0QrpYu1.

 

Those who do plan to attend MOCO may indicate their interest in being selected to participate in a 60-minute interdisciplinary panel during the conference. Following MOCO, we plan to invite submissions for a peer-reviewed publication that elaborates themes from the event. If you wish to be considered as a panelist, please submit a provocation by June 15th, 2018. Additional provocations will be accepted on an ongoing basis, leading up to and following MOCO 2018.

SUGGESTED TOPICS:

Contributors may wish to consider ways in which bodies, gestures, movements, and interactions are described, inscribed, and prescribed via:

  • the design of hardware and software for interaction;

  • interaction mappings that generate sonification, bio-feedback, and bio-control (including with machine learning and artificial intelligence); and

  • choreographic and compositional approaches to interaction design.

We are interested in diverse disciplinary motives, methods, and modes of articulation on this topic. EVERYONE IS WELCOME TO SUBMIT, regardless of disciplinary background, plans to attend MOCO 2018, or interest in being a panelist. For further thematic guidance, please read the full panel abstract.

 

BE A PANELIST @ MOCO - SUBMIT A PROVOCATION BY JUNE 15!

Building from these provocations, at MOCO 2018 choreographer Teoma Naccarato and composer John MacCallum will host a 60-minute interdisciplinary panel to probe aspects of movement that escape computation in performances with sensor technology, and ask if, and if so, how and why these exclusions matter differently to different communities. The panelists will be selected based on their provocations, with emphasis on: highlighting a range of disciplinary perspectives; demonstrated depth of engagement with the theme; and attendance at MOCO 2018. The panelists will be asked to take part in an email exchange, and in a video call with the convenors in advance of the conference. The panel is scheduled for Friday June 29th from 10:15-11:15 am.

 

***

 

SUBMIT A PROVOCATION HERE: https://goo.gl/forms/wZ6Ed1gkWT0QrpYu1

 

VISIT THE PROVOCATIONS BLOG: https://moco18provocations.wordpress.com/

 

If you have any questions, please contact Teoma Naccarato and John MacCallum at: moco2018.provocations@gmail.com

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Call for Provocations:

What escapes computation in interactive Performance?

Facebook: https://www.facebook.com/events/459283127845354/?notif_t=plan_user_joined&notif_id=1528564350875319

SUBMIT A PROVOCATION – OPEN TO EVERYONE!

We are inviting short, succinct provocations addressing a question of vital importance to those interested in the intersection of movement and computing: What escapes computation in interactive performance? All provocations will be posted online in advance of the Conference on Movement and Computing (MOCO) from June 28-30, 2018 in Genoa, Italy, and will serve as the basis for a panel discussion at the conference.

We encourage submissions from professionals and students, artists and scientists, philosophers and robots, and everyone in between and beyond.  You are welcome to submit a provocation regardless of plans to attend MOCO 2018. ALL PROVOCATIONS WILL BE SHARED ONLINE.

The provocation should be max 250 words or 60 seconds for time-based media (e.g. video, audio, slides, ?). If you wish to include media other than text, files up to 100MB can uploaded via the google form: https://goo.gl/forms/wZ6Ed1gkWT0QrpYu1.

Those who do plan to attend MOCO may indicate their interest in being selected to participate in a 60-minute interdisciplinary panel during the conference. Following MOCO, we plan to invite submissions for a peer-reviewed publication that elaborates themes from the event. If you wish to be considered as a panelist, pleasesubmit a provocation by June 15th, 2018. Additional provocations will be accepted on an ongoing basis, leading up to and following MOCO 2018.

SUGGESTED TOPICS:

Contributors may wish to consider ways in which bodies, gestures, movements, and interactions are described, inscribed, and prescribed via:

  • the design of hardware and software for interaction;
  • interaction mappings that generate sonification, bio-feedback, and bio-control (including with machine learning and artificial intelligence); and
  • choreographic and compositional approaches to interaction design.

We are interested in diverse disciplinary motives, methods, and modes of articulation on this topic. EVERYONE IS WELCOME TO SUBMIT, regardless of disciplinary background, plans to attend MOCO 2018, or interest in being a panelist. For further thematic guidance, please read the full panel abstract.

BE A PANELIST @ MOCO – SUBMIT A PROVOCATION BY JUNE 15!

Building from these provocations, at MOCO 2018 choreographer Teoma Naccarato and composer John MacCallum will host a 60-minute interdisciplinary panel to probe aspects of movement that escape computation in performances with sensor technology, and ask if, and if so, how and why these exclusions matter differently to different communities. The panelists will be selected based on their provocations, with emphasis on: highlighting a range of disciplinary perspectives; demonstrated depth of engagement with the theme; and attendance at MOCO 2018. The panelists will be asked to take part in an email exchange, and in a video call with the convenors in advance of the conference. The panel is scheduled for Friday June 29th from 10:15-11:15 am.

***

SUBMIT A PROVOCATION HERE:https://goo.gl/forms/wZ6Ed1gkWT0QrpYu1

VISIT THE PROVOCATIONS BLOG:https://moco18provocations.wordpress.com/

If you have any questions, please contact Teoma Naccarato and John MacCallum at: moco2018.provocations@gmail.com

Read more…

HOW TO WRITE A SUCCESSFUL RESEARCH PAPER

If you have any questions about investing in a particular country, then you will not be able to do so. If you do not know about the development of a tractor, then you have to reconcile all of this as possible, for this artistic explanation.

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Many related problems were made You can always be a professional teacher in this step. Some of the online services are more educated in the workplace in the draft that has been misplaced. This is a great idea, as well as what you have to say about the excitement and excellence of the excellence of the texts. These services are a group of professors and professional professors that have been successful in developing and promoting entrepreneurs.

This is the best way to invest in a small business that has been investing in a well-known business relationship with other business people. The result of this process is that you will be able to find out which results will get from the results.

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