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Mission Eternity Sarcophagus by ETOY.Corporation (Switzerland 2006-07)
Etoy.corporation launched the Mission Eternity Project in 2005, foregrounding on the onehand respect for the human longing to survive in some way after death,and on the other a sense of irony about dated sci-fi fantasies wecontrive to satisfy that desire. The Sarcophagus is one materializationof this project. It is a mobile sepulchre that holds and displaysportraits of those who wish to have their informational remains crossover into a digital afterlife. The size of a standard cargo containerthat can travel to any location in the world, the Sarcophagus has animmersive LED screen covering its walls, ceiling and floor...
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Sensors for Dancers: Wireless Sound and Video Control Through Movement
Wednesdays 2/13. 2/20. 2/27, 6:30-9:30 pm
Instructor: Eric Singer
This class will introduce sensor technology to dancers and others interested in controlling audio and video using movement. Students will learn to use the new MidiTron Wireless interface (http://miditron.com), wire and connect motion sensors (bend, flex, distance, acceleration, etc.) and control sound and video on computer. The interface and sensors can be integrated into costumes and body suits, allowing wireless freedom of movement while tracking body position and motion.
No prior knowledge of electronics or programming is required for this class. You will start from scratch, learning the basic concepts required to accomplish the class goals. You will leave with the tools to do basic work in sensor-based multimedia control and a strong foundation for going further.
Two price options are being offered. Students wishing to purchase an interface and sensors may choose Option 1. This includes the MidiTron Wireless interface at a $100 discount, plus an assortment of sensors. Option 2 does not include the MidiTron Wireless; one will be loaned for the duration of the class.
Option 1: $300 + $425 including MidiTron Wireless and sensors
Option 2: $325 without MidiTron Wireless
LEMUR is happy to announce the formation of an Art & Technology Education Coalition in partnership with Harvestworks (http://harvestworks.org) and 3rd Ward (http://3rdward.com). Our three organizations have teamed up to broaden our collective offering of art & technology classes, with each organization focusing on its strengths. In addition, we will soon be offering special course series, with a series of related subjects taught among the three facilities. Also coming soon, we will be offering discounts for taking multiple classes at any of the facilities.
LEMUR's classes will focus on electronics, sensors, robotics, microcontrollers and performance.
Harvestworks' classes will focus on interactive andincluding a range of Max/MSP and Jitter classes with varied subjects and skill levels.
3rd Ward's classes will focus on fabrication and design, including woodworking, metalworking, welding, screenprinting, textile design and design software.
All seminars to be held in GB048 unless otherwise stated between
1-2.30pm on Wednesday
January 23 Chikukuango Cuxima-zwa, Doctorate Student -
‘My Performance Practices and Experiences in the British Context’
January 30 Josephine Machon - and Paul Woodward - , West London
‘An embodied exchange: performing (dis)closure and the visceral verbal’
February 13 Lali Krotoszynski - Independent Artist and Jarbas de Moraes Neto - Mathematician and Programmer.‘Bodyweave LAB- on-line playground for collaborative audio-visual composition’
February 27 Sita Popat and Scott Palmer - Leeds University
‘Dancing Sprites and Digitized Spaces: Collaborative Research in Choreography, Scenography and Technology’
walking from blu on Vimeo.
When the exploration in dance and technology goes beyond the stage it is not traditional top-down choreography, it becomes an improvisation. Dance 2.0 might include a bottom-up architecture of marketing and communication. Many artists have already used this bottom-up approach to build and perform works.
We swim in improvisational media and we will be continually reformulating "creation".
We are coming out as "polytheistic" therefore we sample. Oblivious of our remixing and recombining we "build/create"...and repack as"style" or "artist voice".
Here are some links to some main stream (very important to aware of) articles about the dance world (companies and presenters) exploring the WWW:
Misnomer's article in Dance Magazine
Recent New York Times's article
Conference in Los Angeles on technology and marketing organized by Dance USA
Improvisational/generative media and performances are 2.0
These might be the "Future of Dance"
Ashley Friend created a relevant integration for her performance at Joyce Soho. She asked her You Tube account to make a video about dance and help her to find the meaning of dance. She got many video responses and used them as video material for the video segments and movement explorations.
In the next video shows Ashley "crowdsourcing"...completing a mediation loop
In the performance that attendded, 3 members of the audience (You Tubers) have travelled to NYC to attend the performance and watch.
This experiment was not registered in the radar of Julie Bloom from the New York Times nor by the Dance Magazine collaborator.
Portable, affordable, pervasive, open source...composite and extensible
Channeling the www...many writers