Blogs

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.

https://vimeo.com/576478142?fbclid=IwAR1ZsEsR9mwef_ZvG3cL97NzeJWcmc5LtBkURixz0DO5tpoin_aU9RHBxEw

The one-year project series “OUR DANCE – What is your dance?”, funded by the Berlin Senate Department for Culture and Europe, since spring 2020 has been based on a setting that is concerned about our work and our constellations. In this setting we wanted to use the potentiality of the local to bring together different neighbors or non-neighbors and emerge from unlikely encounters with a shared or individual experience, with mixed or unambiguous feelings, energies, affects, anger and insight. We ask: How can a public space be curated through the collaboration of a group? How can different audiences be mixed through unexpected gatherings in this process?
Largely under the unexpected auspices of the pandemic caused by Covid-19, we have been searching for constellations of shared learning and unlearning for more than a year now. Instead of giving and taking, instead of outreach and receiving, we set up our work as an exchange of expertise of various kinds. This tangents to some, but not all. It opens to these, but not to those. Only in the overall view of the fluctuations and confusions did small tectonic shifts become apparent. Beyond a paternalistic ethos of gratification, which accompanies many activities in the intermediate area between art and cultural education, we asked what we ourselves want to know and what points of contact arise from this. How do we proceed, how does this world proceed through and as an embodiment of changeable structures? Therefore, seventeen months ago by now, we consciously started with a very simple question that is close to us, that takes the subjective extremely personally, but at the same time offers the possibility to be examined in its social, historical and cultural complexity. In this respect, the central question of OUR DANCE is: What is YOUR dance? And, even further, how do we then dance together?
The durational online event that concludes our project, “OUR DANCE - The living room edition”, inquires into biographical elements whilst exploring the hybridity of cultures and cultural techniques. It approaches embodiment as a shared memory space and offers connections to a biographical as well as socio-political and (inter)cultural exploration. Dancing is practiced here as a special case of what Stefano Harney and Fred Moten describe in “The Undercommons” (2013): They conceive learning at all levels as a collective act of knowledge exchange and knowledge production. For them, this collective learning means a practice against general disinterest or the hyper-individualized interest of individuals. Un/learning is about an interest beyond the individual search for self-interest. It crosses identities and generates new communities.
Given the abundance of dance happening in and around Uferstudios, we want to conclude with “OUR DANCE - The living room edition” together with our guests with a program series that examines dance in its various forms, as a practice that is in each case its own – biographically determined, acquired, deformed or found – along the following questions:
* What is the history, what are the cultures, politics, structures and preconditions of YOUR dance?
* How is YOUR dance embedded in the politics of its history and origins, what are the collectivizing and what are the individualizing forces that can be found in it? How and what does it embody and how does it produce a particular knowledge that cannot be found anywhere else?
* What is YOUR dance at all, how does it work and how can I – the other – dance it?
Different strategies and methods of investigation apply to different types of dance – be it street dance, dance history(s), Madonna videos, Irish social dances, theoretical practices or workshops. Whether as affirmation, as critical embodiment, or as techniques of individualization or communization: the various researches and an international conference which have been realized within the framework of our series questioned 'their dance' with their own methods and by drawing on different inputs from experts in other fields. In each case, specific decisions were made about what kinds of collaborations and what kinds of openings were needed.

PSR is a collective of Berlin-based artists and cultural workers (Lea Martini, Sheena McGrandles, Modjgan Hashemian, Stefan Hölscher, Mila Pavićević, Juli Reinartz and Simone Willeit) who have been collaborating since the 25h event “Househeating” at the Heizhaus of Uferstudios in October 2019. Most of the PSR artists are also active as cultural workers, mentors and teachers in addition to their artistic projects.
Production management: Monica Ferrari and Francesca Spisto. Technical support: Hanna Kritten Tangsoo.
Graphic design: Matrose Mantober.

Funded by the Berliner Senatsverwaltung für Kultur und Europa and the Bezirksamt Mitte. Supported by the Creative Europe Program of the EU, Life Long Burning and the Uferstudios.

Recordings are available via dance-tech on Vimeo: https://vimeo.com/showcase/8476725

Organized by the Fritz Thyssen project “Collective Realization – The Workshop as an Artistic-Political Format” (Institute for Theatre Studies, Ruhr University, Bochum) in collaboration with the ICI Berlin and the PSR project “Our Dance” (Heizhaus/Uferstudios GmbH) in Berlin. Funded by the Fritz Thyssen Foundation and the Berliner Senatsverwaltung für Kultur und Europa.

Concept and Organization: Kai van Eikels and Stefan Hölscher.

Speakers: Zahra Ali Baba, Julia Bee, Sabeth Buchmann, Alice Chauchat, Bojana Cvejić, Diedrich Diederichsen, Gerko Egert, Konstantina Georgelou, Aernout Mik, Wadzanai Motsi-Khatai, Mila Pavićević, Hanna Poddig, Yvonne Rainer, Juli Reinartz, Xavier Le Roy, Heike Roms, Anne Schuh, and Sebastian Voigt.

Workshops and artistic presentations by: Jeanne-Jens Eschert, Bella Hager, Anne Mahlow, Lea Martini, Nana Melling, Aernout Mik, Marta Popivoda, and Doris Uhlich.

Assistant: Miedya Mahmod.
Graphic Design: Zahra Rashid.

Facebook: fb.me/e/ctZHBnxrp

Recordings are available via dance-tech on Vimeo: https://vimeo.com/showcase/8476725

Are you an artist and interested in the blockchain? Curious about the potential of the blockchain for socio-economic design and financial innovation for your communities of practice? Would you like to explore the NFTs and decentralized finances DeFi as a creative space? Are you interested in joining a group of artists researchers exploring these questions and tools? 

If you answer yes to any of these question or you are strongly curious about Crypto, we invite you to apply to participate  in a series of 4 Online workshops/labs for artists and makers offered by MotionDAO

These lab/workshop sessions will offer foundational concepts and tools to access the blockchain economic ecosystem and explore its potential for social and financial innovation. Creative explorations of the affordances of the blockchain will be  encouraged.

The four 90 minutes sessions will introduce the participants to the fundamentals concepts and practices of Web3: blockchain, smart contracts, crypto wallets, token economies, remittances, design and emergence of value, non-fungible tokens, DeFi and DAOs.

Each session will be divided in three parts: conceptual framework, a hands on practicum and a Q&A.

We will be using the  Near Protocol.

Six hours of online mentoring will be offered by appointment.

All levels of experience with crypto and the blockchain are welcome.

Lab will be facilitated in English by Marlon Barrios Solano

DATES:

September 19th and 26th

October 17h and 24th

1:00 PM EST

Important:

• Limited to 10 participant. Leave a brief replay to this post stating your interest and motivation.
• Participants must commit to attend all sessions.
• Participants will receive 10 Near Token (NEAR protocol utility token) as incentive for attending and participation. Check current Near Token Value.
• The last session culminates with the formal invitation to join the MotionDAO and to apply for the MotionDAO/Near Creative Grants 2022(TBA).

  The labs will use Zoom, dance-tech.net and Telegram messenger app as communication tools.

Interested?

1. Join www.dance-tech.net if you are not member.
2. Leave a brief replay to this post stating your interest and motivation.

Questions and more information: marlon(at)dance-tech.net

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It isn't frequently believed, however cats generally eat to satiate. They tend not to eat. Therefore why can we see many Fat Cats (such as the guy from the pic)? ) If you provide a cat a beef diet they'll not be obese but when you induce them to churn via a food packed of fries to obtain the nutrition they require from the lean meat material, chances are they're forced to eat. They can not process carbohydrates, therefore the carbs turn to sugar inducing weight reduction, diabetes, organ failure, etc.

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This food has a slightly higher score compared to super-market crap, however it's still ridiculously pricey for what's actually a bag of corn and wheat directed in a freshwater animal.

The purchase price advertisements and compare are our sole source of revenue to maintain the site running.

LUCHA is a AI research and creation project by Brisa MP human artist. Lucha is a machine for the performing arts. The project explores the notion of body-data and the collaboration between machines and humans, displacing  of the  choreographer category to the machine and activating a peaceful audience as representation of our controlled society.

LUCHA suggest the role of matters  are not, in the present day, and will ever be in future, only means of human expression and human creation, but they may one day enter into a de-hierarchical or even superior dialogue with the human race. LUCHA 1.0 is my first exploration into artificial intelligence that was created upon the performing art s and technology piece titled HERE.

LUCHA 1.0 with the support:

Creation Grant  Generalitat of Catalonia Culture Department .

Residence at MediaLab L´Estruch Creation Factory. HANGAR. Barcelona. 2020.

+ more 

https://caidalibre.cl

https://caidalibre.cl/lucha/

LUCHA PROJECT EXHIBITION

OPENING July 17th 2021 

DY3COPIA BODY AND TECHNOLOGY

VIRTUAL GALLERY

SECOND FLOOR GALLERIES - ROOM F: Mary Neubauer, Brisa MP

Dy3corpia

The Museum of Wild and Newfangled Art

Call for Submissions | Online Biennial 2021

https://www.mowna.org/submit/2021-biennial

a selection of 100 artists will be curated

artists selected receive 70% split of ticket sales

all media and all mediums of art made from 2019 to 2021

deadline march 2nd 2021

this may include:

interactive

experiences

movement

abstract

play

sound

street

fashion

animations

live performance

photography

illusions

nature

software

videoart

memes

writing

bots

gifs

vr

ar

xr

painting

sculpture

sketches

theater

poetry

opera

cinema

other creative things only you can dream up

we are wild & newfangled

are you?

SUBMIT

The 21st Century Dancer: The Multidisciplinary Kinesthetic Body- History, Lineage and Futures

If you have questions about investing in a particular country, you will not be able to do so. If you don't know the development of a tractor, then you have to reconcile it all to the fullest, for this artistic explanation.

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Reconciliation information

below, the information relating to the information provided in the database. If there is a condom in the country, then in the case of a federal law enforcement agency that is proprietary information only, confidential websites with extensions such as ".edu" and ".gov "are trustworthy. Remember that the Internet is a big place and anyone can write whatever they want to Not want in the information and documentary material of the documentary that was applied to a large group of influencers and futurists.

You can also go to the library. In the past explains the contribution of artistic interpretation of the book, which was published in history books. The recurring cost of the most important and most important of all, compared to the recurring without, however, the traditional forms with the latest technology. And fundamental knowledge of bibliographic information for a fundamental explanation of community concerns.

Design your content

Coming up with your memory is crucial. You cannot invest in an investment involving a full and comprehensive investment. What is the main reason you were able to make your contribution? The arguments and ideas have been put together in an attempt to break into your own idea of ​​the main idea. You must provide evidence and precursors for the defense and the aphorism. No nuance was found in the piano and writing algorithms.

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VRYSTAAT ARTS FESTIVAL – JULY 2020 ONLINE - Bloemfontein, South Africa

SCREENDANCE: DIVERSITY & REPRESENTATION MATTERS

https://www.facebook.com/vrystaatkunstefees

An online panel discussion via Zoom 02 July 2020

South Africa: 14-15:30 SAST 

UK: 13:00 - 14:30 BST

USA: 08-09:30 EST

VIDEO LINK: https://www.facebook.com/202113399825664/videos/294524148583739  

Hosted by Georgina Thomson and Jeannette Ginslov

Introduction

This is an online Screendance panel event that presents and discusses the art form, Screendance.  Screendance artists from diverse backgrounds have been asked to present their work, revealing what Screendance is, how they create it, and why it matters. It is also a panel discussion about the form of Screendance, the representation of bodies on screen, cultural diversity and the body’s representation at International Screendance festivals.

Given the current socio-political climate we can no longer skirt around the issues of bodies race, diversity and their representation on screen. To date, this topic has never been fully discussed on a Screendance panel. Being highly contentious these issues are often difficult to talk about and overlooked in favour of other discussions on funding and networking, for example. These are also important issues, but the representation of dancing bodies cannot and should not be a discussion held by academics behind closed doors. Yes, it may be uncomfortable to talk about race and representation, but this discomfort needs to be discussed as we cannot get away from bodies, their representation and context. They are the very medium of Screendance, entangled with the medium of cinema. So how do we overcome something that we cannot and should not ignore? How do we ask these questions in and with our work and how is this represented on screens internationally? There may be no answers, but at least let us try to talk about these issues. We have work to do.

Hosts

Jeannette Ginslov: Screendance and embodied technologies practitioner & PhD Candidate London South Bank University: UK

Georgina Thomson: Dance Programme Coordinator: Vrystaat Arts Festival South Africa

Presenters:

Omari Carter: Associate Lecturer and Screendance Practitioner: UK

Gabri Christa: Dance filmmaker, Assistant Professor of Professional Dance Practice Barnard College and Curator-Director of Moving Body-Moving Image Festival: NYC USA

Simon Fildes: Screendance practitioner, producer, curator and teacher: Scotland

Robin Gee: Screendance practitioner, Associate Professor of Dance, University of North Carolina, Greensboro

Smangaliso Siphesihle Ngwenya: Screendance practitioner, writer, choreographer and performer: South Africa

Participating in the discussion:

Dominique Jossie: Filmmaker/Producer and Screendance practitioner: South Africa

Tania Lea Vossgatter: Dance teacher, choreographer and aspirant Screendance practitioner: South Africa

Here is a list of the screendance that the artists are referring to:

SCREENDANCE PANEL 02 JULY 2020: Playlist on You Tube https://www.youtube.com/playlist?list=PL-byKtwPMjA5oLMeMlD9zHL6farkpUqds

Omari Carter: Associate Lecturer and Screendance Practitioner: UK

Ease on Down: https://youtu.be/MHw2LyTBWKo

Gabri Christa: Dance filmmaker, Associate Professor of Professional Dance Practice Barnard College and Curator-Director of Moving Body-Moving Image Festival: NYC USA

Quarantine: https://youtu.be/9iZH1BP6KvE

Simon Fildes: Screendance practitioner, producer, curator and teacher: Scotland

Trio for a Quartet: https://youtu.be/kFzKJORI2H0

Robin Gee: Screendance practitioner, Associate Professor of Dance, University of North Carolina, Greensboro: USA

Wanting https://youtu.be/oSSu_W2I3Ho

Smangaliso Siphesihle Ngwenya: Screendance practitioner, writer, choreographer and performer: South Africa https://youtu.be/K9xO88y7qk4

https://www.behance.net/gallery/99405945/Take-my-breath-performance

DRE is Dance Career Recovery/Transition option that can be applied immediately following the COVID-19 pandemic, when social distancing restrictions have been lifted and you deem your locality/community safe. 

 It will assist you through the uncertainties of negotiating a “new normal” of a post-COVID-19 society and its income uncertainties, while returning you immediately to maximum movement productivity with minimal cost to you individually.

There are two stages to DRE.   Stage 1: You plan your DRE environment now during the pandemic. Stage 2: You implement it immediately upon the lifting of social restrictions. 

For more information on STAGE 1 & 2:  Link-  DRE

DRE is free to apply and use by any Dancer, anywhere.

A sensual, fluid, hypnotic exploration of a “human sculpture”: the bodies of five dancers pass, cross, follow, intertwine with each other. A video of dance, adaptation of choreographer Gilles Jobin’s “The Moebius Strip”.

The Moebius Strip, created at the Théâtre de la Ville in Paris during the spring of 2001 became one of his most emblematic pieces. “On the stage, viewed as a white painting, bodies are thrown like splashes of colors, mixed as tint areas and given rhythm by the shades of the clothes” (Rosita Boisseau). This creation evokes his father’s paintings, Arthur Jobin, which alternate between geometrical rigor and intensive vibration of juxtaposed colors.

Dance film 26 minutes / choreography THE MOEBIUS STRIP recorded in december 2001 at the Arsenic, Lausanne.

Dance film 26 minutes / choreography THE MOEBIUS STRIP recorded in december 2001 at the Arsenic, Lausanne.
Premiered 8 mai 2001, Théâtre de la Ville Les Abbesses, Paris (France)
Choreography : Gilles Jobin
Dancers : Christine Bombal, Jean-Pierre Bonomo, Vinciane Gombrowicz, Gilles Jobin, Lola Rubio
Music : Franz Treichler
Light design : Daniel Demont

https://www.yogacenteramherst.com/dancing-awareness/

Thursdays 4-5:15pm EST

Somatic awareness+breath+mindful movement+connection

I am offering the Dancing Awareness class adapted to the online environment. I will continue our exploration and benefiting of the possibilities of playing with networked presence, shared vitality and expanded somatic exploration.  I lead the sessions as synthesis of my investigation on somatics, embodied cognition, meditation, dance improvisation and networked performance.

You need a hight speed internet, computer or smart devices with camera and microphone. You can do this class alone or with a group and need at least some space to move and play. You may also adapt the activities to your space and range of movement afforded by it. I suggest to place the device at floor level and be willing to reconnect with  you body and with others.

We will use the ZOOM video platform.

This class is produced and supported by
Yoga Center Amherst | Online

Pay from the heart model!

Follow instructions here!
http://www.yogacenteramherst.com/online/

Dance and Music: The 21^st 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 20^th 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 21^st 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 20^th 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..

 ©2019. Manjunan Gnanaratnam

UNSTABLELANSCAPE Online Festival: Forever Hybrid Week 1
While We Were Holding It Together
by
Ivana Müller

In While We Were Holding It Together, a tribute to the power of the imagination, Ivana Müller subjects notions of body and mind, and the relationship between the two, to a closer inspection. This results in a poetic, humoristic and philosophical production that draws the audience into Müller’s clear logic. While We Were Holding It Together creates images in becoming, always changing, depending on who is looking. Is it a rock band on tour? A picnic in the forest? A hotel room in Bangkok? We look, imagine and re-invent while searching for what is hidden and for what we want to see.

Created in 2006, the piece has been shown more than 70 times in festivals and venues in Europe, the United States and Asia. In 2007, While We Were Holding It Together won two prizes at Impulse Festival (DE). The jury of this internationally renowned festival awarded the performance with the first prize for the best off-theater production as well as the prize of the Goethe Institute.

The piece was also nominated for the 2007 VSCD mime-prize, which is the annual prize of the collaboration of Dutch theaters and concert halls for the best show of the year in the category of physical theater.

The piece exists in the original English version and, since November 2008, also in a French version.

Concept, direction: Ivana Müller

Performance: Katja Dreyer/Sarah van Lamsweerde/ Albane Aubry, Pere Faura/Ricardo Santana/ Arnaud Cabias, Karen Røise Kielland/ Hester van Hasselt/Anne Lenglet, Stefan Rokebrand/Jobst Schnibbe/ Geert Vaes/ Sébastien Chatelier, Jefta van Dinther/Bill Aitchison/ Julien Fallée – Ferré

Text : Ivana Müller, Bill Aitchison, Katja Dreyer, Pere Faura, Karen Røise Kielland, Stefan Rokebrand, Jefta Dinther.
Artistic advice : Bill Aitchison
Sound design : Steve Heather
Light design & technics : Martin Kaffarnik

While We Were Holding It Together is produced by LISA and I’M’COMPANY, in co-production with Sophiensaele Berlin (DE), Productiehuis Rotterdam / Rotterdamse Schouwburg (NL), Dubbelspel (30CC and STUK Kunstencentrum Leuven, BE).

This project is financially supported by the Nederlands Fonds voor de Podiumkunsten and the Mondriaan Stichting.

This piece is presented on dance-tech.tv, .net by courtesy of Ivana Muller

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 Abstract: http://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/