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Soon approaching, over the weekend Fri 11 – Sun 13 September, is our first Digital Lab at The Place as part of the Choreodrome artist development programme.

Choreographers will be 3D scanned and printed, hear talks from BBC Sherlock Network app writer David Varelawho is now travelling back by boat from Montevideo to Buenas Aires, then a plane to São Paulo where he has been part of a traveling transmedia conference: Mediamorfosis.

Ju Row Farr from interactive performance company, Blast Theory will talk about engaging audiences with their interactive cinema piece My One Demand at Toronto film Festival, and the BIMA nominated digital life coach app Karen.

Friday and Saturday will feature a hands on experience of making motion controlled audio circuits alongsideDirty Electronics’ John Richards who has been busy this season performing at the Supersonic Festival, Sonar Festival, Barcelona, Incubate, Netherlands and is lead speaker at the forthcoming, Ableton Loop conference in Berlin.

Newly announced Wired/The Space Creative Fellow, Annette Mees of Coney leads our Sunday daytime session on multiplatform audience engagement.

With digital technology now integrated into our everyday lives, this weekend aims to present exciting new ideas on how we can experience and understand technology with a group of performance artists who are exploring the new creative landscape.

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LIVE-I WORKSHOP

http://troikaranch.org/troikaWP/live-i-workshop/

Reed College, Portland, Oregon 2015
Monday June 29 – Friday July 3, 2015 – 10AM – 4PM
(Studio Time Available After 4PM Each Day)

Fee: $675

Housing in Portland – HERE

workshop banner

 

DESCRIPTION

The XBox Kinect has become an essential tool for artists who want the movement of the human body to influence digital media in real time. During this year’s Live-I Workshop, Troika Ranch Co-Directors Mark Coniglio and Dawn Stoppiello will focus on using the Kinect as a tool to create interactive performances that are both compelling and dramaturgically sound.

During the first two days of the workshop, participants will learn how to use open source tools to gather movement data from the Kinect, and how to use that information to impose real-time control over video, sound and light via the software Isadora. The remainder of the workshop will be spent working individually and as a group to create scenarios where that information can be used artistically. As a group, we want to consider three key questions: what am I tracking, why am I tracking, and why is it important dramaturgically. The last word of that sentence is key. In the end, any technology one uses in a performance must be there to support the piece, and the ideas behind it. This workshop will ask those questions in relation to motion tracking and the the capabilities offered by the XBox Kinect.

Troika Ranch will have ten Kinects on hand. So you needn’t purchase one to take this workshop. In addition, students will receive a six-month license for Isadora, the user-friendly, real-time media manipulation tool created by Mark Coniglio. So, aside from your laptop computer, we will provide everything you need to get started.

APPLICATION PROCESS

Include one paragraph explaining why you are interested in attending the workshop and one paragraph describing the kind of work that you make. Briefly tell us about your level of expertise with computers. Please include your name, address, telephone number and email address.
Applicants must have a basic understanding of using a computer, i.e., opening and saving files, copying and pasting information, basic navigational skills, etc. Applicants must also have gone through the Isadora tutorials 1-6 before the workshop begins. Send applications to info [at] troikaranch [dot] org

A note about the selection process: please know that, beyond your application information, an important factor in choosing the participants is how the group fits together as a whole. When the skills of those participating vary too widely, it means that someone participants will be overwhelmed while others will be waiting for the others to catch up. So please understand that if you are not chosen it is not a reflection on your abilities or your skills as an artist.

The workshop fee is due no later than the first day of the workshop. Payment can be made by check, bank transfer or PayPal.

REQUIRED EQUIPMENT

Computers: We require that you bring your own Mac or PC laptop.

Macintosh Requirements: Intel based computer with a bus speed of 2.0 Ghz and 2.0 GB of RAM (4GB Preferred); Mac OS X 10.6.8 or greater; latest version of Apple’s QuickTime.

Windows Requirements: Intel based computer with a bus speed of 2.0 Ghz and 2.0 GB of RAM (4GB Preferred); Windows 8, 7, Vista or XP, latest version of Apple’sQuickTime.  (If running Windows XP, you must be sure that the drivers for your graphics card are v2.0 or better.)

Video & Audio Inputs – Read Carefully!

Some means of capturing live video and audio is required. Click this link for detailed information that will help you ensure you have both live video and live audio feeds into your computer.

OPTIONAL EQUIPMENT

Sensory Systems: Users may also bring additional sensory systems if they have prior skill in connecting and using those systems with their computer. Isadora can receive input from OSC (Open Sound Control), MIDI, Serial devices and via TCP/IP. Isadora can also receive video from other program via Syphon (MacOS) and Spout (Windows).

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At ITP / New York University (NYU), Tisch School of the Arts

27-31 AUGUST 2015

Call for applications from artists working with code and digital media for the at ITP/ NYU-Tisch Choreographic Coding Lab.

Are you an artist working creatively with code and digital media with an interest in movement? Then come join Motion Bank and the team ITP/ NYU-Tisch for the 4th Choreographic Coding Lab where movement hackers and practitioners will be gathering to discuss and work on projects, ideas and challenges in a peer-to-peer setting.

CCL #3 - Melbourne at Deakin Motion.Lab, 2015 from participant Philip Boltt

The Choreographic Coding Lab (CCL) format offers unique opportunities of exchange and collaboration for digital media ‘code savvy’ artists who have an interest in translating aspects of choreography and dance into digital form and applying choreographic thinking to their own practice. This format supports working with patterns in movement scores and structures through finding, generating and applying them with results ranging from prototypes for artworks to new plug-ins for working with dance related datasets. The CCLs also seek to support a sustainable collaborative practice among its participants encouraging ongoing exchange in a growing artistic research community.

CCLs are an outcome of 
Motion Bank, a four-year research project of The Forsythe Company focused on the creation of digital dance scores with guest choreographers. This research involved the study, documentation and analysis of unique choreographic approaches, and the datasets and tools used behind the development of the Motion Bank scores will be made available for the CCLs including an installation of Piecemeta / Piecemaker2. These systems hold and serve the data from Motion Bank and previous CCL recordings.

With their reputation for fostering curiosity, supporting agile 'light weight' design research and forging collaborative working pathways between disciplines, 
ITP/ NYU-Tisch is an ideal host for the organisation of the CCL. The week will be enriched by interactions with experienced local choreographers and members of the Motion Bank research team. The organizers of the CCL will facilitate internal exchanges, documentation and open-door moments. The ITP/ NYU-Tisch space and equipment will be freely provided.

Pathfinder

Pathfinder tool from CCL #1 participant Christian Loclair (princemio)

There is no fee (or payment from our side) for participation, but applicants are asked to propose starting points and ideas. Collaborative teams involving coders, choreographers, object, sound and filmmakers interested in the Motion Bank research are encouraged to apply. A selection will be made to ensure the right balance of participants and what they bring to the lab. The application deadline is 8 June 2015. Participants will arrive and gather on the evening of 26 August for an informal get together, then begin exploration in the lab on 27 August.

Go directly to the application form:
http://choreographiccoding.org/content/application-form-nyu-ccl-4-august-2015

Contact with questions about the ITP/ NYU-Tisch facilities:
Mimi Yin (mimi.yin@nyu.edu)

Contact with general questions about participation:
Florian Jenett (ccl@motionbank.org)

With the support of the Processing FoundationVVVV,CreativeApplications.net and NODE - Forum for Digital Arts
 
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For the 7th time, JOINT ADVENTURES is inviting choreographers, dancers, film and (multi-)media artists to develop new aesthetic approaches and visual languages for choreography and film in a 60-second ad format. We are searching for works that operate choreographically with the film medium and initiate unusual aesthetic dialogues. Cineastic media confrontations with choreographic approaches can result from a new combination of film, art, video and choreography; the goal is to sensitize the audience’s view of film and choreography as art forms and open its eyes for a choreography of images.

 

There are prizes in two categories. Monetary prizes will be awarded for the artistic quality of the films in the amount of up to 2.000,- EUR. In addition, prizes will also be awarded in the “cinema” category that includes the presentation of the winning films throughout Germany and Switzerland, as well as the screening at different European festivals. Within the framework of a cooperation with Das Tanzfest.ch, the winning films will also be included in the programs of the cities participating in Das Tanzfest.ch between 12th and 15th of May, 2016. The films submitted to the competition will be judged and the winners selected by an external and independent jury of experts; the jurors are active in the international film and dance worlds.

 

The award ceremony and the presentation of the winning films will take place in November 2015 in Switzerland.

 

The goal of the short-film project CHOREOGRAPHIC CAPTURES initiated by JOINT ADVENTURES is to anchor the various forms of representation and realization of choreography and film in the audience’s consciousness. It is meant to give this art form space for artistic input, exchange, networking and presentation in order to advance the interaction between choreography and media art.

 

All information required for participating in the competition is available at > www.choreooo.org.

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I am very happy to announce that since February 1st 2017, dance-tech.net and other related dance-tech projects have initiated process of developing a collaborative ownership  model involving several important organizations in the field.
These organizations represent diverse approaches and perspectives  on the transmission of dance knowledge, facilitating an exciting and strong synergy that may manifest in new developments and collaborations to support this community.
It is a moment of reconnection and reinvention.
Motion Bank from Frankfurt (Germany) have decided to step in to support directly the transition,  joining efforts with Bates College with direct financial support  covering the costs of server and hosting of dance-tech.net and dance-tech.tv.
Here are the words of Florian Jenett from Motion Bank:
"Motion Bank has explored intersections of dance and technology since 2010 building on projects that reach back to as early as 1994. Technology for us is an enabler, an invitation to see more and take new perspectives on an art form that is inherently hard to translate into other domains outside the body. We know Marlon for a long time and have been following his relentless efforts in shaping dance-tech.net for this community and hence are happy to now be able to support it."
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Dance-tech Core Node:

I am honored that the following people and organizations have expressed interest in participating in this  process as the Dance-tech Core Node:

Scott deLahunta  and Florian Jenett from Motion Bank (Germany)
Kerstin Kussmaul from IDocde/REFLEX Europe (Austria)
Nayse Lopez from festival Panorama (Brazil)
Rachel Boggia from bates College (USA)
Johannes Birringer  from Brunel University (UK)
Matt Lewis from ACCAD/OSU (USA)
Marcela Giesche from Lake Studios Berlin (Germany)
Mark Coniglio from Troikatronix/Isadora (Germany)
Susan Kozel  from Medea Malmo University (Sweden)
Norah Zuniga-Shaw from Department  of Dance of The Ohio State University
Director of Dance and Technology
Jaki Levi from ArrowRoot Media
Jeannette Ginslov Independent artists and researcher (UK)
PhD Candidate London South Bank University 
Lisa Nelson from Contact Collaborations, codirector CQ Contact Quarterly Magazine and director of Videoda
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These are the agreements  and basic guidelines for the transition from  February 1st 2017:
1.-Participants of this process must have an active account on dance-tech.net and join a group that will be specially created for this process on the same network (dance-tech core node)
2.-The ownership of the dance-tech.net and dance-tech.tv will be transferred  to a group of collaborators of stakeholders.
3.-Motion Bank, in agreement with Marlon Barrios Solano, is the main/first enabler of this transmission of ownership and commits to continue paying the hosting fees and maintenance of all the dance-tech platforms: dance-tech.netdance-tech.tv and dance-tech.tv@  Vimeo starting February 1st 2017
4.-All collaborators commit to keep the content available and free of cost. A donation system is embedded in the dance-tech.net platforms and it is  linked to Motion Bank
5.-Marlon Barrios Solano will keep his account in dance-tech,net as Marlon Barrios Solano (network creator);  and will share the moderation/administration privileges until is necessary.
6.-It should be very clearly and visibly stated in the main page sidebar that dance-tech projects are supported by this new collaborative model. All supporters may use of the side bar to show a linkable logo to their websites or dance-tech accounts.
7.-Marlon Barrios Solano will maintain the ownership of projects such as dance-tech interviews and views, meta-academy, meta-medialab, meta-creationlab and will keep using his dance-tech.net account for their publishing. It is also offered in this new phase, the possibility that all organizations can use the names and concepts the dance-tech projects.
An excellent start of this new phase!
Please leave questions, ideas in the comment section of this post!
Onwards,
Marlon
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Images: Motion Bank Choreographic Coding Lab #5 Los Angeles 2015 @ UCLA

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Exploring choreographic knowledge in networked environments

an online lab led by Marlon Barrios Solano (HZT-Berlin researcher associate and dance-tech.net and .TV  creator) and Rachel Boggia (Bates College, USA)

This online collaborative lab is offered as a pilot to students from all HZT-Berlin-| UDK programs and is also open  to worldwide remote participants free of cost.

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meta-academy@HZT-Berlin-Bates is an online lab investigating the potential affordances and impact of networked environments  (from internet to mobile devices) for collaborative creation, performance and knowledge production about contemporary choreographic practices.

The lab will offer online video presentations and encounters, discussion forums, online individual and collaborative projects and a final project exhibition. The participants will explore and play with online choreographic knowledge resources and cutting edge digital internet technologies to register, aggregate, map and visualize the knowledge articulated on their own or others creative/artistic practice and research.

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The students will collaborate on the design and creation of a meta-resource  on choreographic  knowledge and may also apply the tools and resources in their own creative process and/or research.

All the content, tools and activities will be served online and will include video sharing platforms, network visualization and mobile augmented reality.

This online collaborative lab is offered as a pilot to students from all HZT-Berlin-| UDK programs and is also open  to worldwide remote participants free of cost.

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The students need to dedicate at least 8 self paced hours a week engaging with the materials and  activities. Participants needs to have access to broadband internet connection.  Smart mobile devices are desirable yet not required.

This course will be realized twice:

September 1st  to  12th 2015
March 29th to April 9th 2016

Registration is open!! 

Inquiries email to marlon@dance-tech.net or

to

m.barrios@hzt-berlin.de

MORE ON META-ACADEMY

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Matthew Fuller will host Nicolas Salazar Sutil, as part of the UK launch of the book Motion and Representation: the Language of Human Movement at Deptford Town Hall.

Their conversation will revolve around the book's main themes, i.e. the challenging relationship between movement performance and systems of formal representation (mathematical, computational, movement notational), as well as the emerging technologies and industries these systems afford. They will debate critical issues provoked by contemporary forms of motion representation, and the kind of creative interventions that help us to better understand how human movement has been both rationalised and complexified through digital languages, and how we may begin to re-think our culture of technologized movement.

The discussion will be followed by Q&A, and complementary drinks.

 

Nicolas Salazar Sutil is Academic Fellow in Digital Performance at the School of Performance and Cultural Industries, University of Leeds. He is the co-editor, with Sita Popat, of the book Digital Movement: Essays in Motion Technology and Performance (Palgrave), and artistic director of C8 Project (www.salazarsutil.net).

 

Matthew Fuller is Professor of Cultural Studies at the Digital Culture Unit, Centre for Cultural Studies, Goldsmiths, University of London. He is the author of Media Ecologies: Materialist Energies in Art and Technoculture (MIT Press), Software Studies (MIT Press),  and, with Andrew Goffey, of Evil Media (MIT Press) as well as Behind the Blip: Essays on the Culture of Software and other books. 

 

This event is organised by Digital Culture Unit, Centre for Cultural Studies, Goldsmiths College

http://www.eventbrite.co.uk/e/motion-and-representation-book-launch-and-drinks-tickets-16579445568

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Staying (A)live

Staying (A)live... through words,here it is: The Venice Biennale Angolan Pavilion catalogue, includes a text by Vania Gala on the challenges for choreography in the present time 12249578065?profile=original

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Job Announcement: Assistant Professor of Dance
Bowdoin College
Submission Deadline: September 30, 2015

The Department of Theater and Dance is currently accepting applications for a tenure-track position in Dance to begin July 2016. Possible areas of interest include screendance and dance performance intersections with dance and technology. Great opportunity to work with generous, collaborative colleagues and smart students in a supportive and dynamic artistic and academic environment. Details posted here.

A highly selective liberal arts college on the Maine coast with a diverse student body made up of 29% students of color, 3% International students and approximately 15% first generation college students, Bowdoin College is committed to equality and diversity and is an equal opportunity employer. We encourage inquiries from candidates who will enrich and contribute to the cultural, socio-economic, and ethnic diversity of our college. Bowdoin College does not discriminate on the basis of age, race, creed, color, religion, marital status, gender, sexual orientation, veteran status, national origin, or disability status in employment, or in our education programs. For further information about the college and the department, see our website at www.bowdoin.edu.

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Benefits of Getting your Home Automated

These are the times when we’re learning to live ‘smart’. From Smartphones to Smart Towns, everything is upgraded to the latest trends, effectively and efficiently managed, and geared at benefits-optimisation. And thus, the idea of ‘smart homes’ or ‘automated smart homes’, is no stranger to us either. More and more people in the cities are opting for home automation, and it yields numerous benefits:

  • Enables you to check on your home security system from any location: Through door locks that are number-operated, you can ensure the security of your house. Often it so happens that we forget to lock the door after having busily barged out. With automation enabling, we can shut the doors quickly through a simple tap on our Smartphone. Another huge added benefit of this system is the alarm. You can be informed each time somebody tries to break into your home. So all in all, it provides for fool-proof security. 
  • Helpful in Saving Electricity: The benefits of home automation are not limited to security. It can be of immense help in controlling energy wastage and in turn, global warming. By manually being able to switch your lights on and off, you can save a lot of electricity and prevent the bill from being gigantic. And the best part is that you can either switch them off manually (from your Smartphone or other similar devices) ,or simply time them to be turned off at a particular time. 
  • Adjust temperature as per your needs: Temperature of a particular room, or of all rooms, can be adjusted from anywhere in the house. Or outside the house as well. Like lighting automation, thermostat automation is extremely useful in saving energy and cost-effective too. 
  • Saves a lot of money and time overall: The biggest advantage of home automation as seen from the above points is that it is hugely effective in cost-saving in several directions. You can save on the electricity and gas bill by a huge chunk. 
  • Gives you peace of mind when out of home: This is good for everyone, especially people who tend to worry too much. Home automation helps you not only to operate your home from outside, but also to prevent theft and keep an eye on young children who may be at home alone or under a baby-sitter while you’re out. 
  • You’re in control even when out of town: This point is pretty much a re-emphasising of the above point. With automation, you can control your home appliances as per your family member needs and requirements. You can set up a time for the maid or housekeeper to come in, or have a friend/neighbour come over and collect things of importance or just casually look around the house, by the virtue of home automation. As they say, more power to you.
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Errance (Variations on the labyrinth)

production 2015   video 3mn   teaser (1mn39s)
Based on the multiple meanings of the labyrinth, Errance is a hybrid project which combines both an interactive immersive installation,  live dance performance and physical involvement of the audience.

Project proposed by Compagnie K. Danse,  www.k-danse.net
Choreographers: Anne Holst & Jean-Marc Matos

In close collaboration with partners:
Aurélie Dumaret & Emilie Villemagne, digital artists
1minute69, interactive audiovisual illusion, www.1minute69.com
Marianne Masson & Mario Garcia Sáez, dancers-performers
Arnaud Courcelle, multimedia artist
Emmanuel Mondolfo, composer

Errance is an integral part of the research and creative experimentation being developed in the context of the European project Metabody
WITH THE SUPPORT OF THE CULTURE PROGRAM OF THE EUROPEAN UNION

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Modul-dance facts and figures

Modul-dance ended in December 2014. We are pleased to share with you the hard facts and figures regarding the activities of this European cooperation project devoted to support the development of dance art artists.

20 partners
16 European countries
52 selected artists
44 research modules
120 residency modules
53 production modules
346 presentation modules
13 festivals
10 think tank
6 conferences
22 roadshow activities
20 film screenings
63 carte blanche to artists and cultural workers
17 dramaturgic advice
14 partners’ meetings
463 on tour presentations
705 cultural workers directly involved
23.332 modul-dance festivals audience
67.761 spectators of presentations at partners’ venues
150.000 spectators of presentations at other international venues

European exchange happens. Thanks to modul-dance we have established a successful infrastructure where larger - and smaller - scale organisations are able to collaborate for the benefit of artists from all over Europe.

Thanks to everybody who made modul-dance possible!

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6th-7th Februry 2016 Ackerstadt Palast Berlin

Connecting Fingers (Theatre Dance Performance -45 Minutes- English):
An encounter with some refugees.
In attempting to connect with their stories, dancers will lead us on a second journey.

https://www.facebook.com/connectingfingers

The Birthday - Short Film (16 Minutes, Mandarin/English with german subtitles) Berlin Premiere

Two taiwanese girls, Ron and May, are living in Berlin. As Ron’s birthday approaches, the different love that they feel for each other places them in front of a meaningful change.

Nomination Best Cinematography ShanghaiPride 2015 -
14 Festivals Official Selection
More info: https://www.facebook.com/thebirthdayshortfilm

http://ackerstadtpalast.de/Events/The-Birthday-Connecting-Fingers-Kurzfilm-Tanztheater-Performance

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Modul-dance final book

After four-years-and-a-half of development, modul-dance arrives to its end. Twenty dancehouses from sixteen countries had the chance to cooperate in a project with the aim to support development, mobility and exchange among dance artists under the umbrella of the European Dancehouse Network.

We are very proud of the work developed in the framework of this project, an example of best practice based on the commitment and the sustainable cooperation of its partners and institutions.

In the project final book we worked to collect, as plural as possible, testimonials by partners and artists participating while addressing many of the key issues that were part and parcel of the project: mobility, community, cooperation, sharing and sustainability at the European level.

Download pdf here.

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Original can be found here http://idocde.net/pages/122

Call For Proposals

5th IDOCDE Symposium on Contemporary Dance Education

July 28 - 30, 2017 at ImPulsTanz Vienna International Dance Festival

 

why compromise. mind the dance.

promoting actions and creative visions in a precarious world

 

Informed by the developments in the world of socio-politics – and the cultural attention that goes along with it – we at the IDOCDE headquarters decided it was time to frame our annual Call for Proposals as a Call for Action. This decision is to address the theme of the 5th IDOCDE Symposium.

The theme of the 5th IDOCDE Symposium – why compromise. mind the dance – is different from the previous themes in that it does not only ask you – the dance educator, artist, student, cultural worker, and the participant in the making of The World – to look inwards and reflect on your developing practice, share your reflections and by doing so enrich the experience of others. The aim of this year’s Symposium is also to ask you to add an outward-looking reflection whilst asking the question: what is my practice actually doing to the world – given my experience of managing personal pedagogic and artistic practices? How are my pedagogic and artistic decisions shaping the world of others – my students? My peers? And what, in particular, is the effect of the decisions I am not making?

(The time for mulling around is up.) 

Assuming that compromise is somewhat a part of everyone's daily life, we ask: What do you actually do when you compromise? What are the reasons for which you compromise? And how long do you think it will be possible for you to continue that practice?

We are not interested in asking you to imagine a world without compromise. This is not a utopian exercise. What we are inviting you to is, thinking thoroughly about compromise. And consider what kind of world your practice is creating. What kind of institutions, what kind of organisations, what kind of ecosystems, what kind of politics, what kind of families. 

Instead of stepping into the trap of ‘judge-mentality’, we would like to ask you to join us, think together with us; to pose sincere, straightforward, and challenging questions. In short, we would like to ask you to approach this Symposium with the clarity of body-mind you may have never dared to engage with before in a public space, and by doing things you may have never dared to do before in a public space. In other words, we would like to ask you to approach this challenge – ‘as a human being’, an experienced participant in an alliance of individuals, artists and educators. 

We hope this call is inspiring and exciting; resonating with your priorities, with your practices, with your interests, and with your passions for dancing – if so send your proposal today! And help us bring about a Symposium that will not only enrich, but that will also move – move participants to action. Help inspire, inform, and support our community by exposing your experiences: Your physical practices, your pedagogic practices, your theoretical practices, your artistic practices. Your public thoughts, your intimate thoughts, your affirmative thoughts, your challenging and critical thoughts.

Help encourage the community by joining this alliance. Participate at the 5th IDOCDE Symposium on contemporary dance education and so – help make a difference!

Proposal for “why compromise. mind the dance.” and their formats* may include the following, but are not limited to these:

Emerging practices in the oscillation between art-making and education

Examples you find within you or around you, or in other landscapes beyond dance as a response-ability to the world around you

Movement(s)

Philosophy in and of dance

Political actions

Historical context(s)

Proposals that address the how we are being with each other right now right here

Scores

Workshops

Classes

Lectures

Installations

Performative actions

Hang outs

Site-responsive

Mediated spaces (virtually and non-virtually)

*We invite you to challenge (or not) the ‘usual’, the ‘conventional’, the ‘traditional’ formats of public presentations and sharings, teachings by staging your sessions in a way that aligns the staging to your thinking and ‘the doing of your thinking’. In other words, we invite you to think ‘outside the box’. This might be the opportunity for some to question or problematize the assumed role language has in enabling communication. What of your thinking would best be communicated in words, and what of your thinking would best be communicated in experience, performance, movement, action, etc?

 

IDOCDE invites contemporary dance practitioners, dance and movement educators, researchers, theoreticians and other practitioners contributing to this field

to submit proposals for the 5th IDOCDE Symposium!

All practical or theoretical proposals centered on aspects of teaching, researching or practicing dance, in relation to the proposed theme, are being considered.

Formats might range from teaching a class and sharing reflections, hosting a lecture demonstration, talk or discussion, to more uncommon or experimental formats, or anything in between.

Propositions of a length up to 2 hours (ideally 90 minutes, longer or durational propositions will be considered whenever possible), individual and team proposals from teachers all over the world and the IDOCDE community are warmly welcome. 

 

Please fill in the PROPOSAL FORM by creating a new idoc under your profile and add it into the Symposium Folder before February 15th, 2017.

  • If you feel inspired but you’re unsure of how to frame your thoughts within the parameters given by this form – please contact pavle.heidler@idocde.net
  • Complete the proposal form on idocde.net and send a copy to lieve.de.pourcq@idocde.net
  • For technical issues/ idocde website, please contact defne.erdur@idocde.net
  • Deadline for proposals: February 15th, 2017

 

Your Symposium and REFLEX project team:

Defne Erdur, Eszter Gál, Pavle Heidler, Kerstin Kussmaul, Lieve de Pourcq, Martin Streit 

 

 

The IDOCDE symposium is part of the EU program REFLEX EUROPE.

REFLEX researches and uses documentation as a tool for reflection in order to improve the teaching and to increase the impact on the learners in contemporary dance.   


For further details head over to http://idocde.net/pages/122

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FABRICATING PERFORMANCE

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Inspired by existing notational languages in dance, Fabricating Performance evolves what have traditionally been graphic, symbolic systems and proposes a new way of interpreting and representing movement, through the generation of architectural-­‐scale sculptures. To achieve this, we have designed a live custom -­ fabrication system, which combines methods of designing dance and architecture - and turns robots into creative collaborators.

Performance is presented as a process of fabrication. Reciprocally, fabrication is presented as a process of performance. A circularity of human body-gesture and computer machine-gesture leads to the construction of notational spatial artefacts. Space is constructed through the transforming conditions of dance, and performance is constructed through the transforming conditions of architecture. The project is a spatially interactive design system. Driven by the motivation of a participating performer/designer, body movement is tracked, analysed and translated into tool paths for fabrication by a robotic armature and an industrial CNC pipe bending machine. Discrete construction elements are fabricated in response to the dancer/designers performance. The generative cycle of construction encourages bodily interaction and the aggregation of a form of spatial notion that described repetition, rhythm and pattern. ’Fabricating Performance’ qualifies movement in space and raises questions of how these qualitative motion segments can be articulated in a quantitatively physical manner.

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Project Page

http://www.interactivearchitecture.org/lab-projects/fabricating_performance

Some Background http://www.interactivearchitecture.org/fabricating-performance-a-dance-of-circular-feedback-processes-in-constructing-spatial-notion.html

Project title: Fabricating performance

Researchers: Syuko Kato, Huyghe Vincent

Advisor: Ruairi Glynn

University: UCL, Bartlett Interactive Architecture Lab

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