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The PLAY REC, is a collective exhibition of videodance, which to come about in December 5th, 6th, and 7th 2008 in the Cine-teatro Apolo in Recife. The event, is also a meeting to stimulate the creative work between the video maker and the performer. In the program is the videodance "DEGRAIS" maded by Adriana Carneiro and Carolina Seabra.
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November 28, 2008 VIA dance-tech list Choreographic Captures 2008: Dear Artists and colleagues, We’re pleased to announce that the website is now online. The website contains about 100 choreographic short films which were submitted to the first international Choreographic Captures competition in 2008. Additional films will be added next year. Choreographic Captures, each of which is maximally sixty seconds long, reclaim the format of the advertising clip for a new and purely artistic purpose. Choreographic Captures are art in public space. The five prizewinning films from this year’s Choreographic Captures competition are now also being shown in selected cinemas, where they’re screened at an unexpected moment: in the midst of the series of advertising clips that precede a feature film, e.g. between ordinary ads for jeans or cars! Shown in the context of such commercial messages, the Captures entertain and surprise movie audiences: entirely in accord with the motto “art for those who didn’t ask for it!” For more information about the project, the upcoming competition in 2009 and the participating cinemas, please visit, where you will naturally also find all of the short films – so there’s no need to wait until the next time you go to your local cinema! Visit the website and discover exciting films. Perhaps they’ll inspire you to create a Choreographic Capture of your own for next year’s competition in the spring of 2009. Of course, we would be pleased if you would forward this link to all your friends and colleagues who might be interested in the project as well. Let’s bring art back to life! Enjoy the films! visit now
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cimatics bruxelles friday 28th nov'08 festival unites art, music, media and design in a relentless approach of contemporary culture.( es mucho más visual que artes escénicas, pero son artistas que en un momento dado creo han o harían colaboraciones con artistas que trabajan el todas formas..algunos, seguro, viven de la disco...y donde sinó uno/a mueve el cuerpo..!!)He asistido a screenings de video ( me interesaba el programa de audio visual -proyectaban el DVD contenido en el libro recién sacado/curado por Cornelia & Holger Lund que trata de la historia del visual music) ISBN 978-3-89790-293-0 los videos que más me gustaron de esta serie (y no entiendo el alemán)és he ido a las performance liveDe 4 que he visto dos me han gustado mucho por su grado experimenatl pero a la vez muy bien presentados y obras bien acabadas, seguro que había impro pero todo cuadraba a la perfección, excelente efecto sobre el público. Ovación.Eran todos artistas del mismo sello Artkillart ( Paris/berlin) lo que me gustó mucho se puede ver aquí ( CHDH) mirad las piezas elektricity)y el otro que decía (CUTTEROFF)ñana vuelvo pues actuan unos españoles que conozco Solu&arbol be continued

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Dancing Scientists

Dancing Scientists Invade YouTubeYouTube dancing contests not just for dancers....
via ScienceNOWBy John BohannonScienceNOW Daily News20 November 2008Six weeks ago, the Gonzo Scientist challenged researchers around the world to interpret their Ph.D. research in dance form, film the dance, and share it with the world on YouTube (Science, 10 October, p. 186). By the 11 p.m. deadline this past Sunday, 36 dances--including solo ballet and circus spectacle--had been submitted online. A panel of nine judges--the three winners of the first "Dance Your Ph.D." contest, three scientists from Harvard University, and three artistic directors of the dance company Pilobolus--scored the dances on their ability to bridge the art and science worlds. Today, Science announces the winners of the 2009 AAAS Science Dance Contest in four categories: Graduate Students, Postdocs, Professors, and Popular Choice:Graduate StudentsSue Lynn Lau chose classical ballet and highly kinetic party dancing as the way to interpret her Ph.D. thesis, "The role of vitamin D in beta-cell function." As The Nutcracker Suite lilts in the background, Lau, a graduate student from the Garvan Institute of Medical Research in Sydney, Australia, appears as the Sugarplum Fairy, delivering marshmallow glucose to four beta cell dancers. Meanwhile, a fifth dancer flings and twirls around the stage--representing the sunlight required for vitamin D biosynthesis.
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European Musicday Anniversary Party in Athens

Call for video entriesEUROPEAN MUSICDAY ANNIVERSARY invites international video-artists to show their work in a celebrating venue that will take place on the 21 of December in Athens, Greece. The video works category includes short videos, music videos, animation, dance videos and video art, that have been completed / released after 1-1-2005.Closing day for submissions is 17th December 2008Requirements for EntrySubmissions must be postmarked by the deadline in order to be considered.Indicate: “With no value/ for cultural purposes only” in your submitted DVD.Submitted materials will not be returned.Submission Material / Screening RequirementsEstimated video length up to 10minutesFormat: DV AVI format (broadcast high quality 720X576)Short biography of the author in word .doc format (100words max)Email address required by all applicantsAll credits/rights should be included at the end of the videoDeliver Submission Pack To:EUROPEAN MUSICDAYPO BOX
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Hello dance-techers; Due to a proliferation of spam and spam-bots (non-human members), as of November 23th new members have to be approved by the administrator and only members are able to see the content of this site. This regulation does not change any of the site features but will ensure the integrity of the site goal and its focus. It is also required from all members to update their profile page with your complete/FULL name and with ALL new required information. We are a community of practice, so it is very important to clearly share who we are and our backgrounds. is FREE and open to all humans and movement styles, levels of practice and artistic accomplishment but it is focused on innovation, collaboration, creative process and the symbiotic relationship of our bodies and technology. I recommend: Customize your page Invite friends Upload a profile picture Explore, make comments and share your process Organize your photos in albums and they will show in the home page Post upcoming events Use forums and groups: just joining is not enough! Add contextual information and tags to your uploaded media . If you have an external blog, add the RSS feed from your blog to your page. New Feature: Birthdays of the community in the right sidebar! Don't worry: you can select not display your age in your profile but this feature works better if you enter your real birth-date! Take advantage of the tangible benefits of belonging to this community Deadline: Call for Projects: INTERFACING MOTION with Wireless Miditron Fall 2008 Watch DANCE TECH/The Program Episode 1 Ah...important Support You can make an on-line Tax-Deductible or a PayPal Donations Watch new interviews:
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New Series dance-tech @ the tech that will show "behind the scenes" images from the technical rehearsals of premieres. Watch dance-tech @ Bebe Miller's Necessary Beauty tech rehearsal at Dance Theater Workshop 11/10/08
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Have a a Happy Thanksgiving! That is all for now! Marlon New York City
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Android Rehearsal Assistant version 0.0.1 released

For those of you that have access to an Android device (e.g., the new G1 phone):Rehearsal Assistant is a software tool which helps performance artists conduct rehearsals by addressing media-related needs. Version 0.0.1 has been released for the Android platform, and allows choreographers, directors, lighting designers and others to take notes (record audio annotations) while watching a rehearsal run (or any other event), and review them later.The recording interface allows the user to indicate the start of the rehearsal run (by pushing a "go" button) and then start / stop the recording of individual audio annotations (which will be time-stamped relative to the start of the rehearsal run). The playback interface displays the list of recorded annotation and allows them to be played back.See the screenshots for sample use: the wiki for download and usage instructions: just download the released application on your device: this is an early development version. It uses a single project which will get overwritten every time you record annotations for a new rehearsal run. You are encouraged to try it out and provide feedback, but please use with care.
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SEEDS FestivalSomatic Experiments in Earth, Dance, + ScienceJune 14 - 28th 2009Earthdance · Plainfield, are very excited to announce our second annual arts and ecology Festival, SEEDS, from June 14th –28th, 2009. Save the Date!FESTIVAL CALLSPREADING SEEDS: DEADLINE December 20thSEEDS Festival will benefit from projects beyond the scope of our curatorial imagination. We invite you to propose and participate in the following projects:Single Workshops (Green/Body/Local & CI as a Social Experiment), Interdisciplinary Residencies, Presentations, Panel Discussions, Performances, Videos & Films, Archiving, and more! Our website lists the complete descriptions and downloadable application forms. Festival (Somatic Experiments in Earth, Dance, + Science) is a unique interdisciplinary summer festival dedicated to arts and ecology. The two weeks will feature workshops, collaborative design projects, panel discussions, live performances, films, and interdisciplinary investigations. This year's format: Week One: A week of workshops, and a two-track weekend of eco-soma-regional research, & social experiments into CI. Week Two: Interdisciplinary investigations.This year, the Festival will focus on potentiality - in this year of potential political change & community organizing, we invite this phenomenon into our interdisciplinary investigations.SEEDS Festival 2009 Curatorial Team: Margit Galanter, Melinda Buckwalter, and Olive BieringaSEEDS Team: Curators, Earthdance Staff, & Programming Committee.Questions? seeds@earthdance.netEarthdance is an artist-run residential retreat center and an international arts organization. Through a broad spectrum of activities and programs, Earthdance cultivates the art of improvisation, dance, collaboration, and ecological understanding. Located in Pioneer Valley, Western Massachusetts, Earthdance features two beautiful dance studios, farmhouse, comfortable dorm accommodations, delicious cuisine, wood-stove sauna, spring-fed swimming quarry, and 100 acres of outdoor bounty.
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Leonard has a skin! (And it's green and furry)

In our latest days of Leonard construction, we have ventured away from Chapter 1: the foam and, moved toward Chapter 2: the fabric. These two chapters in The Making of Leonard had a bit of an overlap as you can see in the below pictures.

As these pictures show, we added the center piece to the dome that Shawn will secure to the top of his head. The four triangle-like shapes surrounding the center piece keep it and the dome structure supported. It's pretty sturdy if I do say so myself.As you can see in the pictures above, we have started to add the fabric to the dome and the jaw. Here are some more pictures showing the fabric laid (but not yet glued) to the dome and jaw.

Top of Leonard's head (aka the dome)

Leonard's head with paper cutouts set where his eyes will be (They will be giant plastic googly eyes - and yes, these paper cutouts are the actual size, ha ha ha.)

Leonard's Jaw

The body of Leonard not yet sewn and not yet with arms

A reminder of what the small Leonard puppet looks likeI have been working side by side with a wonderful and amazingly talented couture fashion and costume designer, Galina Mihaleva. As you can see, we have set the fabric where we want it, but we are waiting to secure the fabric until we have all of the parts with sensors built and added to the costume (ears, teeth, etc). We just finished the ears and added the sensors, as you can see here.

These fabric bend sensors are here so that when people scratch Leonard behind the ears or play with his ears, he will make sounds. We plan to cut slits into the foam, stuff the bottoms of the ears through the slits, and glue it down with the same adhesive glue used for the dome. The bottom half of the ear sensors will be sandwiched in the foam, and the top half will be in the exposed part of the ear...

We will use a similar design for the teeth, which will also have sensors.We originally planned to use the conductive thread/fabric to transfer the sensor signal down to the Miditron Wireless transmitter (this would mean less wire). However, because we have several sensors connected to different detachable pieces of the costume (the dome head, jaw, and body) we are now planning to simply use wire. As you can see in the pictures below, I soldered crimp tubes (usually used in jewelry making) to the ends of the wires. I am using these hollow, metal tubes to sew the wire onto the conductive fabric connected to the sensor. I used the conductive thread to sew on the wires. The wires will be strung down to the Miditron Wireless transmitter, which will be secured to the back of the football shoulder pads in a mini pouch.

Crimp Tube Soldered on Wire

Crimp Tube Soldered on Wire

Bend Sensor before its sewn and trimmed. I found that when I sew with the conductive thread, it tends to fray a lot. I use a small pair of scissors to trim away the frayed pieces of thread that you can see here.

Bend Sensor after it's sewn

Bend Sensor after it's sewnI suppose that is good for now. Just to give you an idea of what is coming up. We will be making GIANT googly eyes out of 12" diameter clear domes, which you can see here. They should be coming in the mail within the next couple of days. We will either use painted foam balls or rubber balls to make the bouncy part of the eye inside of the clear domes. (Lots of domes in this project.)We will also be making the teeth with sensors, securing the fabric, and sewing the body of the costume. Heck, the next time you hear from me, the costume might be pretty darn close to done! (Well, then comes the programming part - ha!.....done.....Shya)Jess
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Call for A-i-R proposals: Soft Technology

V2_Lab, the artistic Research & Development (aRt&D) department of V2_ Institute for Unstable Media in Rotterdam, the Netherlands, has a vacancy for a three-month artist’s residency from January 15 to April 15, 2009.Deadline for applications: December 7th 2008To download your application form please follow this link.BackgroundV2_Lab has an extensive history in the field of wearable technology. In recent years, we have carried out various aRt&D projects in collaboration with various artists and universities. For example, we developed soft, wearable interactive objects with Thecla Schiphorst during Soft(n). We recently took these developments further in the direction of fashion and wearable technology with Di Mainstone’s Sharewear. In these projects, we combine knowledge from various domains to produce surprising or critical artistic statements. V2_ is seeking to further investigate the combination of fashion and technology by means of an experimental residency.IntroductionA true revolution is currently under way in the form of personal fabrication. Wikipedia is already talking about “fabbers” – a new word for the emerging miniature factories. Around the world, initiatives like the Fab Labs and a lively DIY community bear witness to this development. This way of working is also increasing in popularity in the area of wearable electronics.V2_ Lab sees a great need for simple solutions for wearable electronics people can make themselves with a bit of know-how. The proliferation of workshops in things like Arduino and crafting and the success of V2_’s workshops in Shanghai and Cluj, Romania, seem to support this. As a lab, we believe it is important for artists and designers to gain knowledge and hands-on experience with the technical and conceptual possibilities and impossibilities of these technologies in a professional environment.At the same time, we wish to combine our creative powers to develop innovative materials that will enable a far-reaching integration of electronics with their textile carriers. If this technology finds its way to artists and designers, it will certainly have an impact on future wearable projects.Goal of the residencyThe research and development part of the residency will focus on the development of flexible, textile-integrated circuit boards and electronic components, manufactured from easily accessible materials. We wish to involve the artist in this research at the earliest possible stage, so that the accumulated knowledge will remain easily transferable. This residency is also geared toward achieving a satisfying end result in the form of a visually attractive working prototype.This residency is relevant at the artistic level because making low-tech materials and techniques available will enable a much larger community to develop wearables.Technology and way of workingThe artist will be responsible for the artistic theme, design of the wearable, and realization of the prototype; he or she will receive support from the designers and developers at V2_ Lab. In collaboration with V2_, he or she will develop innovative materials and applications that will help to realize the goal of creating a working prototype in which the technology and the textile medium integrate into soft and flexible circuitry. We will work with DIY and crafting technologies as well as with rapid prototyping machines.We highly value convincing design. The integration of technology and craft, however, is part of ongoing research at V2_, so the technological aspects may keep an experimental character. The final result will be presented to the public at one of V2_’s events.Team profilesThe artist will:• be an artist/developer/designer having an affinity with textiles.• be innovative in his/her field and wish to experiment with the aforementioned technologies, and• preferably have basic knowledge of electronics, or at least have experience working in a multidisciplinary team.The experts at V2_ Lab will:• offer support with software and hardware development,• work with the artist on research into the integration of textiles and electronics,• have knowledge of materials, and• be familiar with various crafting technologies.We work with FabLab Utrecht Protospace, which offers• the use of milling machines, laser cutters and 3D printers, and• occasional support from a professional.V2_Lab offers:• an artist’s fee up to a total of €3,000.00, depending on experience and activities,• free lodging in Rotterdam, and• travel to and from Rotterdam up to €250.00.The contact person for this call is Piem Wirtz,,Tel: +31-10-206-7273.
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Arts in the urban space

Contemporary creation as a tool

Circostrada Network, a European information and exchange network on street arts and new circus, has published a collective work called “Arts in the urban space: contemporary creation as a tool”.
"The publication aims to engage in deeper reflection on the effects of artistic intervention in public spaces. We asked European scholars of various fields to analyze, from the perspective of their own domain, the impact that artists’ presence has on the public space. What does it mean for society to see the arts moving into a space that was not originally conceived for them? What role can the street arts play in making adjustments on our cities or improving the framework of our lives? Should we beware of the possible exploitation of artistic creation towards political ends?"

Table of contents:

  • Town Planning and Street Arts
  • Spectator in fabula – What Street Theatre Does to Spectators
  • Public Art: between (street) spectacle and the spectacular
  • Nomadic Creations
  • From the Street Theatre to Theatre in the Public Space
  • Artistic Interventions Affirm Public Space
  • Arts Don’t Have to Know How to Behave – A Commentary on Street arts in Contemporary Urban Surroundings
  • Art, Public Space and Creation Centres
  • Anne Gonon
  • Jean-Pierre Charbonneau
  • Dragan Klaic
  • Alix de Morant
  • Joanna Ostrowska
  • Ramón Parramón
  • Christian Ruby
  • Stéphane Simonin
  • Corina Suteu & Cristian Neagoe
  • Yohann Floch (coord.)
You can download the PDF for free: French and in English
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Application call« exercer les images » contemporary dance training programex.e.r.ce 09/10 is being shaped around the theme of “the image”, which will serve as a pivot forthe entire program. The image’s role in dance is multifarious. It is a wellspring for work,inspiration and references; it is a powerful tool for writing, memory and props.The ex.e.r.ce09/10 program will pursue three lines of research, exploring how dance has impacted the imageand how the image has impacted dance from a historical, technical, artistic and aestheticviewpoint. We are curious about what might emerge from this specific image relation into theframework of a dance training program that emphasizes research, tool-building, creating andperforming.the ex.e.r.ce 09/10 program is being led by Mathilde Monnier, choregrapher - Isabelle Launay,dance history doctor - Mark Tompkins, choregrapher, singer - Stéphane Bouquet, screenwriter,poet - Loïc Touzé, choregrapher .applicants futur dance artists and other people wishing to work in relation with this artisticfield aged over 20.Dance training program for students and professionalsIn face of the way choreography is evolving and the ever-increasing links among artists from different countries, cultures, age groups and backgrounds, we believe it is important to widen the scope of ex.e.r.ce’s applicants in order to enable experienced professionals to join ex.e.r.ce. The courses will be organized through three 12-week seminars. It will be possible to follow either the full program for student training or an 8-week seminar (full or part) for the professional training.application until 5 december 2008
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Call for Proposal 2009.La Granja Art Center is a space for the development, research and exhibition of contemporary art work, and also the promoter of new social dynamics between artist and the community through the Chamaco Project.The residency program offers a unique opportunity to step outside of daily live in order to work in a stimulating environment, and provides the privacy for focused work while still encouraging community exchanges with children, art organizations and other artist in Mexico.The Program Committee of La Granja will select from 2 to 4 artists to develop or finish an artistic project. Artist will have different alternatives for the public exhibition of their work. Consistent to the goal of linking the activities of La Granja with the nearby community, guest artists will conduct a working session with the children of Chamaco Project.Disciplines:all media—visual, literary, performance, interdisciplinary, music, audio, video, digital media.Residency duration:a minimum of 10 days to a maximum of 30 days from March to May 2009.Deadline for the submission of documentation:December 18 2008.Commitments of La Granja and sponsors.1. During the residency:Unlimited use of the studio and / or any other suitable space for the creation of the work.Housing and access to the common areas in the house.Transportation to and from Mexico City to La Granja.Materials for the class with the children of Proyecto Chamaco.One meal each day with Rainbow trout.Servicios de vigilancia y mantenimiento.Logistics and publicity.2. For the exhibition of the work:The Regional Cultural Center of Valle de Bravo:Exhibition of either finished or in progress art work in the auditorium or main gallery. Including but limited to performing arts, confererences, lectures, visual arts exhibitions, etc.50% of the expenses for the installation material for exhibition of visual art work. The other 50% is responsability of the artist.Publicity.Legaria Theater:Presentation of either finished or in progress performing art work. The Legaria Theater will consider the amount of shows (up to three), and will also evaluate paying a fee of $2,000.00 pesos for each performance (around 200 US Dollars), plus 50% of the box office sales, depending on the work to be shown. Publicity.Los Talleres Cultural Center A.C:Housing during the days of the presentations in Mexico City.Exhibition of either finished or in progress art work in the lobby or theater. Los Talleres will consider the amount of shows or time for the exhibition, and will also evaluate paying a fee depending on the work to be shown.Publicity.Senior High Schools and Professional Schools of the National University (UNAM)Presentations in either an auditorium, plaza or classroom. UNAM will consider the number of shows or time for exhibition, and will also evaluate paying a fee to the artist, depending on the work to be shown.Publicity.The Program Committee will select the space for the final presentations depending on the format and technical needs of each project.Artists Commitments1. Expenses paid by artists:Mexican artists: a fee of $160.00 pesos per day.International artists: a fee of $25.00 US Dll. per day.Transportation to Mexico CityAll materials required for their project.2. Collaboration with La Granja´s project:2.1. During the residency:Share their experience with the Children of Chamaco Project (teaching a class, video conference, etc.)Participate from one to a maximum of two hours per day in maintenance activities of La Granja (gardening, general reparations, trash gathering, black berry picking (in season) etc.) and similar needed labors.2.2. At the end of the residency:Submit a written reflexion (three page minimum) about their experience in La GranjaLeave one piece of work made during the residency as a donation to La Granja Art Center. The donated piece is decided upon by the artist and the executive directors.(eg. visual art work, audiovisual o literary work etc.) pieces created specifically to be installed in La Granja are greatly encouraged.Show results of the project (finished or in progress) in the Regional Cultural Center of Valle de Bravo and at least one of the following: Legaria Theater, Los Talleres Cultural Center, Schools at the National University.Answer a written evaluation about the Program of Artistic Residencies.Selection process:The Program Committee composed of artists, curators and other art professionals, will select from two to four of the applicantsTo participate in the selection process each artis should submit either by email or certified mail the following material:Written propousal including: justification, general and specific objectives, needs and expectations, propousal for the work session with the children of Chamaco project and exibition of the art work (no more than 8 pages)Curriculum vitae.Plan to fullfill the compromises required by the program.Supporting material of their art work in an appropiate format (photography, video, cd, publications, etc.)The artist can program their residency in one to three time periods. Each artist will be allowed to have a visitor for up to 2 days by paying the expenses generated by this visit.The final selction will be published by December 25th.The Program for Artistic Residencies 2009 is co-sponsored by: the Regional Cultural Center of Valle de Bravo, the National Coordination for Dance, Dance Coordination of the UNAM, Los Talleres Cultural Center A.C., Legaria Theater, Los Alevines Trout Farm and La Manga Video & Dance.La Manga Video & DanzaContact in México City: Gabriela Medina / Mario Villa / 5563 6433Contact in Amanalco de Becerra: 01 726 2510107Email: mangapc@hotmail.comSend projects to:Nattier 18 - 301Colonia San Juan Insurgentes CP 03730México DF, México
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Shadows of Angels Dance Company has.....

A COMMISSION. Geez Louise its been awhile since I've said that. I am happy and excited, but also more than a little scared right now. Some of you who are in the scene 1-for the money, 2-for the show etc. may say: whats the big honkin' deal, my company gets 3 commissions every 6 do you think I put bread on the table?? Well its been about 11 years since I've actually been asked to come up with something FOR someone, as opposed to coming up with something just for the love of the game.So where is that line between fulfilling your own needs of expression and fulfilling the needs of your client? Is it a line, or is it a grey area? Or should there be no line at all with unconditional committment? This will be (re)investigated.Details and footage to come.
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Important reminder of the relevance of Gregory Bateson by Peter Harries-Jones ABSTRACT In honour of the centenary of Gregory Bateson’s birth (1904), this article revisits some of the themes of his posthumous publication, Angels Fear. Some of the book goes over ground that Bateson had covered in prior publications, yet it contains three new themes. The first of these concerned recursion. Generally unnoticed by the reviewers of the book is that Bateson presents a reply in his discussion of ‘structure’ to the concepts and topology of structure- determined recursion articulated in Maturana and Varela’s notion of autopoiesis. The second and third of these themes are those of ecology and aesthetics, and their juxtaposition as ecological aesthetics. These are viewed from his communicative perspective and in an entirely novel way he links ecological aesthetics to epistemology. For example, he argues that the science of biology required an ecological aesthetic because biology, like any self-recursive communication system, must become aware of the disruption of its own relations with the unity of nature or forever continue to conduct bad science. The final section of the article steps outside Angels Fear to address briefly issues raised by the introduction of two processes of recursion, the one semantic and interpretative (Bateson), the other structural (Maturana). The first exemplar raised is family therapy, the second exemplar is that of biology itself. It concludes that the world of signals and signs seem to be a universal aspect of living systems, a veritable ‘semiosphere’ of signification and interpretation neglected by biological science . If there are new topologies of recursion to be found, they will be found in the recursive processes of this ‘semiosphere’ (Hoffmeyer, 1966). See complete article at
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Graduate Student Conference: Dance Across the Board

New York University presents:Impulses to BeginDance Across the Board Graduate Student ConferenceHosted by the Tisch Dance Department, NYU, January 31st, 2009http://dabdance.blogspot.comdanceacrosstheboard@gmail.comCall for Papers and PerformancesDance Across the Board is seeking proposals that consider the theme: Impulses to Begin. We would like to explore the notion of impulse in the field of dance, and the ways in which it spurs beginnings in practice, theory, and social movements. In this current climate of change, we are interested in examining the stimuli that spark desire for action and transformation.What is an impulse? Why and when does it occur? Does something begin after an impulse, and what happens when an impulse is intercepted? What needs to begin? What has begun? In physiology, an impulse is a "progressive wave of excitation over a nerve or muscle fiber" that can either stimulate or inhibit. An electric impulse is a single, often abrupt, flow of current in one direction. Impulse can also be defined as a force, thrust, push against, pressure, shock, or instinctual urge. The impulse in its various forms is pertinent across cultures and disciplines, and Dance Across the Board encourages papers and performances that approach the topic from any of these angles.Suggested areas of investigation include, but are not limited to:Impulses and beginnings in theory, history, choreography, and practice; in relation to the political, the social, the body, technology, education, community, culture, and audience psychology.Dance Across the Board welcomes proposals in the form of papers, solo or duet performances, lecture-demonstrations, films, and mixed media. Interpretations of the theme are encouraged as the conference promotes new ideas and possibilities. Presentations should not exceed 15 minutes. The conference will be curated into panels. Please be advised that the conference studio is only able to support basic technological needs.Dance Across the Board (DAB) is an interdisciplinary platform for graduate students in New York City and surrounding areas to present work and works-in-progress on dance and body-based performance. Conceived in the spirit of Dance Under Construction, DAB seeks to provide an East Coast platform where graduate students working in various aspects of dance can come together and dialogue about their research and interests. This first DAB event will feature curated, informal studio choreography showings, papers, and dance technology projects.Proposals should include the following:1. Completed Submission Form including:- Name- Title of presentation- Email address and telephone number- Institutional affiliation- Names of other participants- Format of presentation- Technical requirements2. 300-word explanation/abstract that describes your presentation and how it relates to the conference theme3. 50-word bio for all participants4. For performances, a 3 to 5-minute clip of the piece or a representative work sample. Please mail DVD/VHS or link to an online video.All proposal materials (except for DVD/VHS) should be emailed to danceacrosstheboard@gmail.comPlease mail DVD/VHS, labeled with your name and viewing info, to:"Dance Across the Board," NYU Tisch Dance Department, 111 Second Ave. 3rd Floor, New York, NY 10003Deadline for Proposals: Wednesday November 26th 2008Notification of acceptance by: Tuesday December 9th 2008The conference is free and open to the publicPlease direct all questions to:
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I had this revelation that, in the process of creation, its not about your technique but more so about how fast you can translate THOUGHT INTO ACTION. What you see is what you do. Technique is an afterthought. Sure there is a certain randomness that comes from being in the studio and letting impulse, gravity, weight, control you - but the more you "see" and can translate in real-time into bodily action, the more "true" your creation will be to your vision.I envy graphic novel and comic book artists because they have that distinct ability to see "action". They then document it with their fingers with pencil or charcoal or inks onto paper. Imagine having their distinct sight and being a dance technician of 18 years. 'twould be glorious...
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Exhibition at San Francisco Museum of Modern Art

let's see whether we manage to go to San Francisco before February 2009 and see this stunning expo, which actually is one of our main topics in our work. The expo presents an in-depth overview of participation-based art in the last 60 years; it can be seen as an exploration of what is an “art of participation”. The exposition's Curator, Rudolf Frieling states:
"We know what it means to participate in politics or school, and sometimes know what it means to participate in a work of art if we get clear instructions. However there are some projects where it is unclear what exactly is asked of you, or you can only find out by actually doing something. The work requires your input and your act of contribution."
Works range from performance based art and happenings to web based projects. A very interesting "exhibit" seems to me Erwin Wurm’s One Minute Sculptures. The artists provides various objects, that are exposed and look like 20. century sculptures. BUT.... these objects come with instructions, that invite the visitor to perform the sculpture! Apparently not the easiest exercises, the "dead" objects come to live by the spectators following Wurm's instructions. Each sculpture is individual and ephermal. What a beautiful concept... [paper on one minute sculptures] We'd be curious to see this exploration of approaches and situations in which the public has taken a collaborative role in the art-making process. It is divided into an online exposition, and the physical on-site exhibition.. The online exhibition consists of artworks that were specifically designed for the world wide web. They range from public discussion forums to online games and sharing tools, some of them using web 2.0 technologies. You can participate in creating a performance that will be showed on 7 February 2009 at SFMOMA, by voting for ten components, including location, time, props, themes, and subtitle. A favorite work is Mejor Vida Corp., an "online shop", that "creates, promotes and distributes world wide products and services for free", including counterfeit barcodes, ID cards, and subway tickets. A very humourous critique of global corporations! Works by artists like Joseph Beuys, John Cage, Lygia Clark, Hans Haacke, Dan Graham, and Nam June Paik, Francis Alÿs, Maria Eichhorn, Jochen Gerz, Felix Gonzalez-Torres, Lynn Hershman Leeson, and Erwin Wurm can be enjoyed and seen. The exposition is completed by lectures, performances (i.e. The Act of Drinking Beer with Friends Is the Highest Form of Art), Film + Video Screenings, and a special exhibition, The 1000 Journals Project "This is an experiment and you are part of it.", which had been created and maintained by Someguy, a San Francisco–based graphic designer who chooses to remain anonymous, the 1000 Journals project is designed to stimulate collaboration and understanding among perfect strangers. The project began when blank, 220-page books from San Francisco were distributed around the world—sent through the mail or delivered by hand to discrete locations. A stamped set of instructions inside each journal invites participants to make their mark in it by drawing, pasting, cutting, ripping, folding, burning, or writing on its pages. When finished, participants pass the journals on. A website tracks the books and their contributors, and displays scans of the pages.8. November 2008 - 8. February 2009The Art of Participation: 1950 to NowSan Francisco Museum of Modern Art151 Third Street San Francisco, CA 94103

© Clara Altenburg Erwin Wurm, One Minute Sculptures (detail), 1997, Photo: Kuzuyuki Matsumoto, Courtesy SF MoMA, © 2008 Artists Rights Society (ARS), New York / VBK, Vienna participation_web_mid_07_ participation_web_thumb_04_

................................................................... Ewin Wurm One Minute Sculpture

for more one-minute-sculpture videos have a look at sfmoma's blog

P.D.ART MACHINES/ MACHINE ART.For me the most interactive and participative exposition I have ever visited, though the concept was based on this thought: In general we presume that artists make art, but what happens when machines produce art? The exposition invited the public to play with the exposed machines, which were artworks in themselves, created by artists and provided the visitor with a big variation of (mostly mechanic) tools to create pieces of work (not sure whether it is art).
origianlly posted at darlingsisters' blog and text © by Karla

image credits
(1) bucket woman | Erwin Wurm, One Minute Sculptures (detail), 1997, Photo: Kuzuyuki Matsumoto, Courtesy SF MoMA, © 2008 Artists Rights Society (ARS), New York / VBK, Vienna.
(2) apple man © Clara Altenburg.
(3) Tom Marioni, FREE BEER (The Act of Drinking Beer with Friends Is the Highest Form of Art), 1970-79; refrigerator, framed print, shelf, beer bottles, and lightbulb, installation view at SFMOMA; collection SFMOMA; photo: Ben Blackwell; © 2008 Tom Marioni
(4) Lygia Clark, Diálogo: Óculos (Dialogue: Goggles), 1968; modified diving goggles, metal, and mirror; Clark Family Collection, Rio de Janeiro; photo: Eduardo Clark, courtesy "The World of Lygia Clark" Cultural Association; © 2008 "The World of Lygia Clark" Cultural Association.
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