Blogs

Word Cloud made with all the words of the descriptions of the plenaries and work sessions from MOVS10

SEE in wordle

body

context

text

connections

relational

communication

exchange

sharing

information

life

art

time

space

process

product

research

real

virtual

memory

storage

imagination

creativity

center

periphery

up

bottom

power

politics

person

structure

organization

strategy

local

global

biology

culture

borders

architecture

freedom

free

access

democracy

horizontal

interaction

place

user

player

gamer

patient

client

spectator

amateur

participant

consumer

viewer

visitor

actor

subject

receptor

member

public

student

performer

apprentice

disciple

aficionado

enthusiast

citizen

professional

Models of mind/body/life/environment

Systems?

Designed experiences?

Engineered exchanges?

Infrastructures of Generosity?

Socially Augmented?

SITUATED ACTIONS: performances

CHANGES

BOUNDARY

INTERFACE

STATE/Behaviors

RULES (open relationship)

WHAT IS CHANGING??

CHANGE

VARIABLES IN A SYSTEM:

CONTROL

AGENCY

AUTONOMY

EMERGENCE OF

ACCUMULATION IN TIME = PACE

ACCUMULATION IN SPACE = PLACE

hubs, nodes and relations

INTENSITY/FLOWS/

SYNCHRONOUS AND ASYNCHRONOUS

KNOWLEDGE: MEMORY AND IMAGINATION/IS ALWAYS SHARED/ALWAYS EMBODIED

COMMUNITY/COLLECTIVE/crowds (artists, community and institutions)

INNOVATION: ALWAYS COLLABORATIVE AND LINEAGE BASED

SOCIAL AUGMENTATION OF THE COGNITIVE PROCESSES

COGNITIVE AUGMENTATION OF THE SOCIAL

Individuals/community

communication Infrastructure

Dynamics

Knowledge

Articulation

Metabolic

Evolutionary

Adaptive

Re-designable

Re-engineered

META and self

ECOSYSTEMS...

HYBRID SYSTEMS:

TECHNOLOGIES OF TRANSMISSION AND CHANGE

PERFORMANCE TECHNE

AUGMENTED STORYTELLING

distributed...performance

HARTFORD, CT -- Jill Johnston, a giant in American Letters who ushered in a new age in dance before going on to help usher in a new age in journalism, and a columnist and chroniclist for the Dance Insider since 2005, died Saturday at Hartford Hospital at the age of 81, her spouse and companion of 30 years, Ingrid Nyeboe, announced, after suffering a stroke September 9, nine days after undergoing minimally invasive open heart surgery to treat atrial fibrillation.

"As Jill was a pioneer not just in dance criticism but in 20th century journalism and literature, dance analogies might be too limiting," said Dance Insider publisher Paul Ben-Itzak. "That said, as a dance critic she was our Merce Cunningham. Just as dance lost the last of its pioneering giants when Cunningham passed away last year, dance criticism has now lost the last of its giants."

Read whole article

http://www.jilljohnston.com/

Dance House
Increasingly popular among modern women enjoy dancing classes. This is not surprising. Dance helps us not only to keep yourself in good shape, he charges us with positive energy, liberating and allows to shine in all its glory in the clubs. Do not forget that these tips for those who want to learn to dance at home. Of course the best results can be achieved by interacting with proffesionaly. After all, we often refer to them, there are plenty of services to them:professional dissertation editing services, community proffesionalov in dancing and so on.

When visiting a dance studio you do not have time, do not worry! Now there are a lot of books, manuals and video tutorials, which you can learn to dance at home. You can either buy them or download for free from the Internet.

To learn how to dance very well be to follow a few simple rules.

Firstly, you should choose the right time and place for dance. In other words - no one and nothing should distract you from the dance classes.

Second, the need to exercise regularly and a certain amount of time. If you decide to dance at home, tell yourself - I'm going to dance for 45 minutes twice a week - and very soon you will be able to enjoy their first victory.

Third, choose the right clothes for dance. For us women it is important, what we wear. Choosing a comfortable elegant set of clothes, you will create your mood, you will feel comfortable, and thus bring home workouts more positive emotions.

Finally, to dancing at home, you need to choose the appropriate course dance. The easiest way to do it via the Internet. Just type the phrase "how to dance at home", and voila - you can already choose the program that best suits your musical tastes.

How correctly to dance at home? Any practice, regardless of the dance genre, should consist of several stages.

Warm-up

From there you need to start each workout. A good workout stimulates circulation muscles, preparing your body to the main load. Turn the disk with your favorite music. It is best to choose an energetic track with crisp clear rhythm. Moving to the music, you can create the right mood, relax your body and adjust it to perform the necessary movements. Improvise, feel the rhythm of the music, remember your favorite dance moves. You feel like you are moving smoothly and freely? I think music is living in you?

Main part

Now you can go to the main part of the workout. It is better to start with a repetition of the material. Practise has learned the dance moves, do not forget about the technique and good posture. Here you can to focus on the movements that you have obtained still not well. Take it for 10-15 minutes. You can advance a list of movements that you need to hone. Pick up for this purpose, 3-4, 3-4 minute track.

Now turn to the study of new material. There should be paid attention to every detail and, of course, do not hurry. Study carefully the technique of movement and how a dancer working with her weight. For every new movement should take up to 5 minutes. Once you learn a few moves, make a list of them for yourself, you can come up with a funny name each PA. Even if you do not train a couple of days, try to mentally scroll through them in your head, and do not notice how they remember.

Ending

You work hard. But you need to relax your body flushed. Put a couple of slow songs. Restore breathing. Smooth movement will help you relieve muscle tension. Now you feel graceful and elegant.

Good luck and beautiful dance!

Technology, the Body, and Choreography
Free residency at Lake Studios Berlin sponsored by TroikaTronix – Mark Coniglio

Include hashtag #dancetechtv in your tweets!

One poor and one 0 by BADco. (Croatia)

World premiere: 17.-19.10.2008 @ 19:30 Dom im Berg, Graz


In 1 poor and one 0 BADco. returns to the scene of the first film ever shot – Workers Leaving The Lumiere Factory: the factory gates. The first moving images ever made show workers leaving their workplace. The movement of the workforce from the place of industrial work into the world of film: the starting point for the problematic relationship between cinema and the portrayal of work.

From its outset cinema tended to leave the manual labor out of the picture, focusing rather on atomized stories of individual workers once they have left their workplace: their romances, their transgressions, their destinies in the course of world events. Cinema starts where work ends.

Starting from these initial images, 1 poor and one 0 sets about exploring the multiple ways of leaving the work behind. What happens when you get tired? When is the work we devote ourselves to exhausted? What comes after work? More work? What happens when there is no more work? What is the complicity between the history of contemporary dance and the history of post-industrialization?

1 poor and one 0 is a twofold performance: while the performers develop the manifold forms of dissolution of the working subject before the audience, the audience is slowly drawn into a process of transformation: from the popular medium of cinema to the political theater of populism. Theater exhausted in moving images, images exhausted in the theater of movement. A change of perspective.

Directors: Tomislav Medak & Goran Sergej Pristaš
Authors and performers: Pravdan Devlahović, Ivana Ivković, Aleksandra Janeva Imfeld, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš, Zrinka Užbinec
Dramaturgy: Ivana Ivković
Stage: Slaven Tolj
Costume design: Silvio Vujičić
Video: Ana Hušman
Light design: Alan Vukelić
Sound design: Ivan Marušić-Klif
Sound technician: Jasmin Dasović

Company manager: Lovro Rumiha

Inspired by the work of Auguste and Lois Lumiere, Samuel Beckett, Vlado Kristl, Jean-Luc Godard and Harun Farocki.

Coproducers: Steirischer Herbst, University of Zagreb – Student center – Theatre &TD

Supported by: Zagreb City Council for Education, Culture and Sport; Ministry of Culture of Republic of Croatia

First the body. No. First the place. No. First both. Now either. Now the other. Sick of the either try the other. Sick of it back sick of the either. So on. Somehow on. Till sick of both. Throw up and go. Where neither. Till sick of there. Throw up and back. The body again. Where none. The place again. Where none. Try again. Fail again. Better again. Or better worse. Fail worse again. Still worse again. Till sick for good. Throw up for good. Go for good. Where neither for good. Good and all.
– Samuel Beckett, Worstward Ho, 1983

Little by little we are replaced … by uninterrupted chain of images, enslaving one another, each image at its place, as each of us, at our place, in the chain of events on which we have lost all power.
– Dziga Vertov Group, Here And Elsewhere, 1972

This circulation of value in the cinema-spectator nexus is itself productive of value because looking is a form of labor.
– Johnathan Beller, Cinema, Capital of the 20th Century, 1994

The first camera in the history of cinema was pointed at a factory, but a century later it can be said that film is hardly drawn to the factory and is even repelled by it. Films about work or workers have not become one of the main genres, and the space in front of the factory has remained on the sidelines. Most narrative films take place in that part of life where work has been left behind… In the Lumière film of 1895 it is possible to discover that the workers were assembled behind the gates and surged out at the camera operator’s command. Before the film direction stepped in to condense the subject, it was the industrial order which synchronized the lives of the many individuals.
– Harun Farocki, Workers Leaving the Factory, 2001

Interview with vana Ivković and Tomislav Medak at the Balkan Dance Platform 2009, Novi Sad, Serbia

Centre for Contemporary and Digital Performance
School of Arts, Brunel University

In collaboration with dance-techTV

Lectures will be streamed LIVE with remote audience  interaction

WATCH STREAM HERE:

http://www.dance-tech.net/profiles/blogs/dancetechtvlive-1
http://www.livestream.com/dancetechttvlive

Wednesday February 16th –  Phill Niblock, in concert and in conversation

4pm Gaskell Building / Artaud Performance Centre 

Phill Niblock is a New York-based minimalist composer and multi-media musician and director of Experimental Intermedia, a foundation born in the flames of 1968's barricade-hopping. He has been a maverick presence on the fringes of the avant garde ever since. In the history books Niblock is the forgotten Minimalist.  His influence has had more impact on younger composers such as Susan Stenger, Lois V Vierk, David First, and Glenn Branca. He's even worked with Sonic Youth's Thurston Moore and Lee Renaldo on "Guitar two, for four" which is actually for five guitarists. This is Minimalism in the classic sense of the word... Niblock constructs big 24-track digitally-processed monolithic microtonal drones. The result is sound without melody or rhythm. Movement is slow, geologically slow. Changes are almost imperceptible, and his music has a tendency of creeping up on you. The vocal pieces are like some of Ligeti's choral works, but a little more phased. And this isn't choral work. "A Y U (as yet untitled)" is sampled from just one voice, the baritone Thomas Buckner. The results are pitch shifted and processed intense drones, one live and one studio edited. Unlike Ligeti, this isn't just for voice or hurdy gurdy. Like Stockhausen's electronic pieces, Musique Concrete, or even Fripp and Eno's No Pussyfooting, the role of the producer/composer in "Hurdy Hurry" and "A Y U" is just as important as the role of the performer. He says: "What I am doing with my music is to produce something without rhythm or melody, by using many microtones that cause movements very, very slowly." Niblock was making films (such a "Movement of People Working" which will be screened here) which are painstaking studies of manual labour, giving a poetic dignity to sheer gruelling slog of fishermen at work, rice-planters, log-splitters, water-hole dredgers and other back-breaking toilers. Since 1968 Niblock has also put on over 1000 concerts in his loft space, including Ryoji Ikeda, Zbigniew Karkowski, Jim O'Rourke.

-- -- -- -- 

[ "Beyond Presence" by Medhit Farajpour, originally schedule to perform his solo performance "Confession" and discuss his work, was unable to enter the UK and his visit unfortunately had to be cancelled. Mehdi Farajpour (1980 - Iran) is a conceptual performing artist; his main activities are divided in two parts: Creation and Teaching. Besides his creations for the stage, he is also firmly focused on teaching his creative way of dancing: “Meditative dance”. His artistic career covers different fields such as Literature, Poetry, Dance, Butoh, Photography, Video, Music and Theatre. In 2002, he launched Oriantheatre Company in Tehran and he promoted the company on international stages. www.mehdifarajpour.com & www.oriantheatre.com ]

Wednesday March 2nd   Aviva Rahmani
“Trigger Point Theory as Aesthetic Activism”
4pm Gaskell Building Drama Studio

Trigger Point Theory as Aesthetic Activism is a methodology conceived by ecological artist Aviva Rahmani, to use body knowledge to see the global in the local. Based in current environmental restoration theory and practical experience, it combines science, performative means and discussion to identify where and how people can intervene in sites of serious environmental degradation. 

Aviva Rahmani, ecological artist and Affiliate, Institute for Arctic and Alpine Research (INSTAAR), University of Colorado at Boulder, received an Arts and Healing Network 2009 award for her work on water. In 2009, she began performing workshops about her theoretical approach to environmental restoration, "Trigger Point Theory as Aesthetic Activism," beginning at the Survival Academy, Copenhagen, Denmark. Her new media project on global warming, Gulf to Gulf (2009- present), fiscally sponsored by the New York Foundation for the Arts (NYFA), tracks the global impact of extractive industries. Previous ecological art projects have resulted in the restoration of a former dump site to a flourishing wetland system (Ghost Nets), linking 35 hectares of migratory bird fly zone habitat and helped catalyze a USDA expenditure of $500,000 to restore an additional 13 hectares of critical wetlands habitat (Blue Rocks) in the Gulf of Maine. Internationally known, exhibited and published for her installations, remediation earthworks and environmental art activism, she has over 40 years collaborative experience with scientists. Rahmani received her Masters from the California Institute of the Arts working with Allan Kaprow and is a PhD candidate at the University of Plymouth, UK.


Wednesday March 16th   Ursula Mawson-Raffalt & Anthony J. Faulder-Mawson
“90’ Silence + Activity “
4pm Artaud Performance Centre 

A performative and exhibitive lecture demonstration that investigates the border territory between the disciplines and experiments with blurring the boundaries between performance, exhibition and lecture. 

Ursula Mawson-Raffalt and Anthony J. Faulder-Mawson  both direct the
International Platform for Innovation in the Arts. Known particularly for the avant-garde nature of their works, their artistic integrity and unique artistic language, Ursula Mawson-Raffalt and Anthony J. Faulder-Mawson invent means to layer their independent works to form a third entity which is somehow greater than the sum of its parts. Their artistic vision is derived from the view that  “ Art is an OPEN SYSTEM that sustains the flow of oxygen and heals and transforms and relates specifically to time, the embodiment of silence and memory and the articulation of contemplative space through movement, text, voice, spatial drawings, light, painting, video, photography, media and sound.

In 1993, when they founded the inter-& cross disciplinary association known under the logo ) + ( = a0,  they began a serious, passionate & challenging lifelong collaboration which is rooted in the dialogue about their integrative methods of construction and presentation. Based on their significant groundbreaking methods, both artists have built up, over twenty years, a highly rigorous, complex and responsive working practice in the fields of performing and visual arts.  Working as the innovators, creators, artistic directors and producers, they have since created & produced a large body of work - over thirty international projects to date, - conceived for the theatre, exhibition space and for site specific locations which have been shown in Belgium, Holland, Denmark, Germany, Ireland, Israel, the UK and Romania.http://mrplusfm.blogspot.com www.mrplusfm.net

Wednesday March 30th  Nick Hunt
“Designer > Performer Repositioning the role of the theatre lighting artist”
4pm Gaskell Drama Studio

The role of the person with creative responsibility for lighting in theatre performance has traditionally been conceptualised as ‘designer’ – someone who makes a prior imaginary act before the moment of performance, which is then replayed in performance through an essentially procedural, non-creative, process. I want to propose a partial reinvention of theatre lighting as an arts practice, emphasising the live operation or ‘performance’ of lighting, rather than its design prior to the performance event, and conflating the existing roles of the lighting designer and the lighting operator into the lighting artist. In this seminar, I trace the historical origins of the professional role of the lighting designer and how it is structured, and suggest some strategies for making the shift from designer to performer. As well as describing changes to rehearsal room practices to include lighting, I demonstrate a custom lighting control interface conceptually structured in terms of lighting affects and temporal dynamics,that provides a playable, expressive instrument for the performance of theatre lighting.

Nick graduated with a degree in Mechanical Engineering before deciding that theatre was more interesting than thermodynamics. After ten years as a professional lighting technician and designer, he started teaching at Rose Bruford College, where – some thirteen years later – he is currently Head of the School of Design, Management and Technical Arts. Nick’s principal research interest at present is the performative potential of light and the lighting artist as performer. Nick’s other research interests include digital scenography and digital performance, the history of theatre lighting, and the roles and status of the various personnel involved in performance-making.


Coordinated by Gretchen Schiller and Johannes Birringer. How to find us: http://www.brunel.ac.uk/about/campus/directions

+   +  +

The Centre broadcasts selected Performance Research Seminars live from the Brunel Drama Studio - making them available to anyone in the world interested in the subject. Johannes Birringer and Marlon Barrios Solano are co-producing the talks and discussions as live webcasts webcast live on dance tech net TV . The partnership between the Centre and dance-techTV, is an experiment in collaborative video broadcasting (the channel is dedicated to interdisciplinary explorations of the performance of movement. The channel allows worldwide 24/7 linear broadcasting of selected programs, LIVE streaming and Video On-demand).

So happy to serve as a guide during this two-week process at the Lake Studios Berlin, as we attempt to reconsider media and performance, to name the potentials and pitfalls as we seek to see our practice anew.

Digital Body Workshop Journal: Day 1 - Abandoning Preconceived Notions: What are our expectations about performance and media? What are the prejudices and stereotypes we carry inside, our points of excitement and our irritations? We spent several hours exploring these questions during the first day of the workshop. It is our attempt to see the digital materials with fresh eyes so we might put them to use in new and unexpected ways.

Digital Body Workshop Journal: Days 2 + 3: What is an Image? The word slips easily from the tongue, but what do we really mean? We dug in to that topic as Benjamin Krieg shared from his vast body of work with groups like She She Pop and others, as Marlon Barrios Solano pushed us inward and outward with several poetic provocations, and Armando Menicacci led us through a rigorous, analytic examination of the structural implications of the word itself. We responded to all of this by having each participant create and share rapidly improvised scenarios comprised only of a projector connected to a video camera in relation to the performer and audience – each of which led to long, rich discussions of the implications and possible meanings they portrayed. When thinking about performance, what does the word image conjure for you?

Foto: Benjamin Krie

Digital Body Workshop Journal, Week 1 – "What is it?": For the last six days, we have attempted to (re)encounter the image: to imagine it, to read it, to wrangle the hardware and software required to record and render it. We did this within the frame of our overarching goal: to abandon preconceived notions and see these materials in a new way. As we start week 2, I ask myself, "how did we do?"

In the end, it is impossible to ignore or deny thousands of years of seeing and making images, from cave paintings to virtual reality. It's in our bones. Yet, we managed to keep ourselves in a constant state of questioning. As Bebe Miller wisely advised us to do last night, we kept stepping back and asking ourself one question, over, and over, and over again.

"What is it?"

For me, embracing that question was the great success of this first week. Now we will see if we can do the same with "data."

Foto: Benjamin Krieg

Digital Body Workshop Journal, Days 7 & 8– Big Data: As we did with the word "technology" in the first week, we started the second week by asking "what is data?" This question could be debated ad infinitum, but here I will mention three crucial points: "data is interpretation and representation", "data is a reduction", and perhaps most importantly "data has value". But how does this apply to using data, from a performer or from the world, in a performance?

Our guest speakers Ruth Gibson + Bruno Martelli (https://gibsonmartelli.com), and Bebe Miller (https://bebemillercompany.org) helped us dig in to those points with presentations that touched on technologies ranging from virtual reality to motion capture, though they continuously kept their focus on aesthetics and expression.

With this in mind, we began to navigate "the gear": this is a sensor, this is the kind of data it measures and represents, this is how we get it into the computer, and this is what we can do with it – practical realities that can often seem at odds with the artistry.

To assimilate and balance the theory, the "how to", and the desire to express and share our artistic vision, remains the goal of this second week.

Benjamin Krieg

Digital Body No. 1 Journal - Day 9 - Data Invasion: Today's pictures feature only the participants of the lab, because we spent nearly two hours today vigorously responding to the works presented by our guest speaker Christopher Kondek. (https://doubleluckyproductions.org)

I cannot reproduce the incredibly well articulated points that so many of our intrepid explorers offered in a Facebook post. Suffice to say, thanks to Chris' presentation and the ensuing discussion, we could no longer pretend that data was just a stream of numbers captured from a performer's body. Losing control of your data, especially for those who live under authoritarian regimes, is not a game. It is a matter of life and death – a notion that will weigh strong on our minds as we continue through this week.

Ad'Aigua Process_Spanish from konic thtr on Vimeo.

CQ chapbook 1, Vol. 35 no. 2, is a unique small-format 32-page piece, packed with dynamic photos and drawings, featuring collaborations between dance and new media:

• Darkling: enter technology - where is the body? an essay on a performance work-in-progress by Hélène Lesterlin
• Jonah Bokaer: moving toward an embodied technology an interview with this experimental choreographer by Nancy Wozny
• The Choreographic Resource: technologies for understanding dance based on a lecture by researcher-consultant-collaborator Scott deLahunta
• interview with choreographer William Forsythe on his interactive online project: Synchronous Objects by Marlon Barrios Solano of dance-tech.net

Open call for CYNETART competition 2012

The international CYNETART competition is open to artists, designers and scientists who dedicate themselves in their artistic and reflective discussion; in particular, to interdisciplinary and hybrid approaches. The call for submissions accompanies the festival every two years since 1996. This competition represents some of Europe's most prestigious prizes in the field of media art.

The following prizes will be awarded:


I. Grant of the Arts Minister of Saxony: 10,000 EUR,

II. The artist-in-residence grant from the Arts Minister of Saxony 2013,awarded in cooperation with the Office of Cultural and Historic Preservation, City of Dresden: 10.200 EUR

III. CYNETART Prize, donated by HELLERAU(European Centre for the Arts): 5,000 EUR



The allocation of additional CYNETART-prices is intended.



CYNETART is an internationally renowned festival for digital culture, based in Dresden. The 16th edition of the festival will present a major exhibition of winning projects as well as selected competition entries, first-class performances and high profile/level music. The programme will include live sets of international electronic musicians and VJs at the Festspielhaus Hellerau and other emerging venues in Dresden. The next festival edition will take place from 15 to 21 November 2012 in Dresden, Germany.


Application deadline for the above prizes: 30 March 2012

For more information please check the website: http://t-m-a.de/cynetart/cfp-2012?lang=en

To participate, please send a signed submission form and documents by 30 March 2012 to:

[ Trans-Media-Akademie Hellerau e.V. ]
[ CYNETART office ]
[ Karl-Liebknecht-Str. 56 ]
[ 01109 Dresden ]
[ Germany ]

CYNETART Festival 2012: 15 to 21 November 2012 | at the Festspielhaus Hellerau | Dresden | Germany

Portrait of Maja Drobac by Srikanth Kolari (c)

Portrait of Maja Drobac by Srikanth Kolari (c)

Photo from Vipassana by Srikanth Kolari (c)

Photo from Bharatanatyam recital by Srikanth Kolari (c)

Maja Drobac in ‘Squirrels on the loose’, photo by: D. Gavran (c)

Photo from Vipassana by Srikanth Kolari (c)

Photo from Bharatanatyam solo by Srikanth Kolari (c)

Photo from Bharatanatyam recital by Srikanth Kolari (c)

Photo from Vipassana by Srikanth Kolari (c)

From performance ‘Kanda’ by Veena Basavarajaiah and Mirra Photo by Maja Drobac (c)

Photo from Bharatanatyam solo by Srikanth Kolari (c)

Photo: Jogulabhavi Satyava Temple by Maja Drobac (c)

From performance ‘Kanda’ by Veena Basavarajaiah and Mirra Photo by Maja Drobac (c)

From ‘Escalator Clause’ choreographed by Veena Basavarajaiah Photo by Maja Drobac (c)

From ‘Escalator Clause’ choreographed by Veena Basavarajaiah Photo by Maja Drobac (c)

Extended deadline:

February 28th 2013!

1st. CALL for PAPERS

In the framework of the TKB project conclusion (http://tkb.fcsh.unl.pt), a 1st. CALL for Papers is now open for submission of abstracts to the following international conference on:

"Multimodal Communication: Language, Performance and Digital Media"

Event dates: Thursday 02 to Friday 03 May 2013

Venue: CCB, Lisbon (http://www.ccb.pt/sites/ccb/en-EN/).

The CCB are co-producers of the conference and associate partners of the TKB project, running at the Centre of Linguistics (CLUNL) of FCSH-UNL.

The Conference is organized in the framework of the TKB research project conclusion (http://tkb.fcsh.unl.pt) and aims to: present the results and software tools developed during the TKB project; provide a multidisciplinary forum for researchers from different disciplines and artists interested in the documentation of Performing Arts (with a focus on contemporary theatrical dance and Performance), as well as in issues of multimodality in human communication and in human-computer interaction, particularly regarding video annotation tools and collaborative platforms for cultural heritage. It is organized by the FCSH and the FCT of Universidade Nova de Lisboa, Portugal.

The event wishes to bring together contemporary artists and researchers from a broad range of academic disciplines, working within different theoretical and methodological paradigms in a creative, internationally oriented, and stimulating atmosphere. The importance of multimodal communication and creativity is now generally recognised by researchers from either the Humanities, Information Technologies or Cognitive Science. This conference therefore offers an opportunity to present and learn about research findings concerning human behaviour and agency in different types of communication and their cognitive, cultural, narrative, technological, social, textual or discourse functions.

Conference Topics (but not limited to):

    Documentation of Performing Arts

    Performance Studies

    Multimodal Corporal

    Digital Media applied to Performance

    Cultural Heritage

    Performance Philosophy

    Cognitive approaches to theatrical performance

    Multimodal Metaphor

    Applications of Conceptual Metaphor Theory to Performing Arts

    Applied Linguistics

    Speech and gestures in human communication

    Verbal vs. non-verbal interactions

    Intercultural aspects of multimodal behaviour

    Human-computer interaction

    Video annotation

    Annotation schemes and tools for multimodal corporal

    Motion Tracking

    New approaches to Digital Games

Keynote speakers:

Sally Jane Norman (Attenborough Centre for Creative Arts, Sussex: UK)

Charles Forceville (Universiteit van Amsterdam, NL)

Irene Mittelberg (University Aachen, DE)

Scott DeLahunta (Forsythe Foundation: Motion Bank, DE)

Scientific Programme Committee:

Carla Fernandes (FCSH-UNL: CLUNL)

Nuno Correia (FCT/UNL: Dept. Computer Science)

João Sáágua (Director FCSH-UNL)

Teresa Romão (FCT/UNL: Dept. Computer Science)

Isabel Rodrigues (Faculdade Letras da Universidade do Porto: CEAUP)

Sally Jane Norman (Attenborough Centre for Creative Arts, Sussex: UK)

Rui Horta (Director O Espaço do Tempo Transdisciplinary Centre)

Dalila Rodrigues (CCB Lisbon)

Sarah Whatley (Coventry University and Siobhan Davies Dance, UK)

Scott DeLahunta (Motion Bank project: Forsythe Foundation, DE)

Stephan Jürgens (IPL: Escola Superior de Teatro e Cinema, PT)

Bertha Bermudez (ICK Amsterdam - Emio Greco|PC, NL)

Irene Mittelberg (University Aachen, DE)

Charles Forceville (Universiteit van Amsterdam, NL)

Rute Costa (FSCH-UNL: CLUNL)

Teresa Lino (FSCH-UNL: CLUNL)

Antónia Coutinho (FSCH-UNL: CLUNL)

Isabella Paoletti (FCSH-UNL: CLUNL)

Gil Mendo (Culturgest, PT)

Maria José Fazenda (Escola Superior de Dança, PT)

Samuel Rego (Director-Geral das Artes, PT)

Organization: FCSH/CUNL (www.fcsh.unl.pt) and FCT-UNL (www.fct.unl.pt)

TKB Project Supporters:

Fundação para a Ciência e a Tecnologia

O Espaço do Tempo (Transdisciplinary Arts Centre)

Centro Cultural de Belém

Fundação Calouste Gulbenkian

Atelier Re.Al

Deadline for abstract submission (400 to 700 words limit):

Extended deadline:

February 28th 2013!

The abstracts should be sent by e-mail attachment to carla.fernandes@fcsh.unl.pt

Abstracts should be included as Word or PDF file attachments, and be anonymised for blind review. Please indicate clearly in your email the name(s) of the presenter(s), university affiliation(s) and email address(es).

Selected papers will appear, after extension and peer-review, in a special issue of international journal (currently under negotiation).

Notification of acceptance will be communicated by 15 March, 2013.

Conference fee:

General public: 70 €

Students: 35 €

The fees include coffee/tea and other refreshments, as well as the conference abstracts.

The Payment procedure will be published soon in the conference webpage to appear at the TKB project's site.

Lake Studios Berlin: 6 week Dance-tech AIR Residency

Jeannette Ginslov

16 July - 30 August 2014

For six weeks Danish/South African dance on film specialist, for screen, AR and the internet, Jeannette Ginslov, will research and explore the notion of: P(AR)ticipate: a body of experience/a body of work. Ginslov will research the connections between her past and present, the 'real' and the remembered, the virtual and the archived and how it may be accessed by screendance, the internet and the augmented reality app Aurasma.

The research will culminate in a live solo performance that asks the viewer to participate with their smart mobile devices to uncover the layers of archived video material, personal stories and political memory. In addition the viewer will experience empathic responses in the exploration of these narratives, and at the same time reveal the instability of personal memory, its state of flux and temporality. Ginslov's research asks and tests how memory is stored in the body and how it may be retrieved by new media tools and audience engagement.

The performance, 30 August, invites the audience to P(AR)ticipate virtually in Jeannette Ginslov's personal memories of living in an Apartheid and Democratic South Africa, the POV of the "other-other", as well as documentary footage of her dance archive, that begins 1998 and is still ongoing, by using the AR app Aurasma on your smart mobile device.

The app is triggered by markers tagged on Ginslov's moving body and as you scan your device very close to the markers on her body, you and the dancer connect, pause or move slowly together, as the video plays. There could up to 5 viewers doing so at once thereby allowing the viewer to become part of the choreography and performance of memory, presence and porous materialities.

In this way the work is a dialogue, a contact mediation, where both dancer and viewer are aware of the connection point and its ephemerality. The work emphasizes time, history, real, virtual and digital materiality as well as memory that is contained in certain parts of the body. It is immersive and disrupts usual performance-audience dynamics.The tags are like wormholes used to uncover memories and experiences stored in the body and so the the performative work becomes a "visceral seepage", oozing from the dancer's body and rendered into haptic, empathic and visceral connections between dance and viewer.

Ginslov will also run three workshops leading up to this performance: 

Screendance Workshop 01 23 August  10h to 18h

Dance and Choreography for Camera/Dance with for by Camera

Screendance Workshop 02  24 August -  10h to 18h 

60seconds dance films - shoot, edit & upload, for screen and internet

Screendance & AR Workshop  30  August 10h to 18h

Create a screendance AR journey of choreographies

Workshop Requirements: Small video handy-cam or phone with a camera and a laptop with editing software if possible.  

For the Performance and Workshop you will need to download Aurasma onto your Android or Apple device from the App Store. Once downloaded you can search for the P(AR)ticipate Channel and follow it. For more details see Aurasma: http://www.aurasma.com/ . You will be assisted at the performance in doing this and will be able to use an iOS device if you do not have one.

Cost per Workshop: €60 Additional Workshop: €50

Lake Studios Berlin, Scharnweberstrasse 27

12587, Berlin – Friedrichshagen

T: +49 (0) 30 – 9900 – 9814

E: lakestudiosberlin@gmail.com

Visit Jeannette Ginslov's Website for her portfolio of work