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Great compilation of excerpts of performances from the festival with a broad variety of performers, dancers and choreographers. From 1991 to 2006. It is an important documentation of the Downtown New York City scene of the last 15 years. There excepts of performances of Jenifer Monson,Ishmael, Houston-Jones, Kelly Garfield, RoseAnne Spradlin, ChenekiLerner, Guy Yarden, Dennis O'Connor among others... Edited by Charles Denis Cortesy of Karen Bernard from New Dance Alliance
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Interview with Karen Bernard director of new dance alliance and producer of the Performance Mix Festival in NYC She also shred with us a video with excerpts of performances in the festival from 1992. There are performances of many NY downtown now well known dance, performance artist and choreographers. I will upload it later today. About the NDA: Formed in 1979, New Dance Alliance (NDA) is a non-profit tax exempt arts service organization whose mission is to actively promote emerging forms of innovative dance, video, music, and interdisciplinary performance work. NDA was founded to support an artistic community with limited institutional resources, and to provide this community with increased opportunities to share experimental works with the public. Today NDA remains dedicated to its founding principals and has expanded its programming to include services that enable artists’ career advancement.
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Find more videos like this on This is video in which I ask for a reflexion on the tone of comments and opinion in each others work. Is related to commens from Matt to Johannes posts: Johannes continued the discussion in the dance-tech email list. Please watch and comment, thank you, marlon
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This workshop is for dance, theater, film, video-ists, conceptual artists, sound artists who are interested in learning about the collaborative process between sound designer and "other." It is for those who want to interface their medium with sound or want to learn about sound making process process.In this interactive workshop, participants will go "out into the streets" to record sound that will later be contributed to a short score. Prior to the field trip portion of the class, we will discuss collaboration, the formulas and limits for sound collection and the meaning and relevance of intention and limits in the creative process. We will especially look at how we can infuse the theme, which is "productivity," every step of the way. Upon collection of sound, we will return to engage in the interactive compositional portion of the day concluding with a real live useable score that will (in some form) be a part of The Movement Movement's full length evening contemporary dance piece premiering at the Joyce SoHo in June 2008.Sunday April 6, 10 AM to 4 PM - $50 (12 person limit) PRE-REGISTRATION IS REQUIREDPlease visit Harvestworks to register596 Broadway, Suite 602 (btwn Houston and Prince)Pre-payment required, space is limited to 12 participants. Please register at under classes/audioFor questions about content please email Martha Williams or call 917-531-1171Facilitated by sound designer Norm Scott and director/choreographer Martha Williams**Funded in part through the Meet the Composer's MetLife Creative Connections program.**
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FREE Market"I should not even be writing this blog because I should get paid for it. It's my work. It's my idea. But I'm so worried that someone will do it before I do that I'm going to blog about it anyway. At least I'll get the exposure. And the publicity may lead to gigs where I"ll get paid...."~ANONYMOUSWith that. I am guilty of it. You are guilty of it. Pretty much all bloggers are guilty of it. If we put our work online it immediately becomes public. We've given up our material. Released it for free. Our art, our lives, and our work are becoming a commercial, for ourselves, our work, and our art. When do we get the payout?"We're not in it for the money" - but do we have to avoid selling out by selling short?After all the hype has settled down, what will there be? What are we getting ourselves and our field into by putting dance online? Do we know? Have we considered it?This is to incite reflection and investigation.
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"stylishly sexy" — The New Yorker “I’d settle for more choreographers as hip as Laura Peterson” — danceviewtimes (New York, NY) - Dance New Amsterdam (DNA) is pleased to present Laura Peterson Choreography in the premiere of Electrolux, choreographed by DNA Artist in Residence Laura Peterson to music by Led Zeppelin. Performances are Thursday–Saturday, March 27–29 at 8:00 p.m. and Sunday, March 30 at 3:00 p.m. in the theater@DNA located at 280 Broadway (entrance at 53 Chambers St.). An opening reception will precede the performance on Thursday, March 27 at 7:00 p.m. Imagine the kind of luxurious carpet that retains the marks of a vacuum cleaner. Every step destroys its plush perfection. Performed by Kathryn Harris, Kate Martel, Christopher Hutchings and Laura Peterson with costumes by Charles Youssef, Electrolux is about environment, texture, garbage -- and carpet. Laura Peterson is a NYC-based dancer, choreographer and Artistic Director of Laura Peterson Choreography. She received a 2007 Mondo Cane! Dixon Place Commission. Her dances have been presented throughout NYC, other US cities and produced internationally in Argentina and Germany. Her work has been performed at Lincoln Center Out-of Doors and Jacob’s Pillow Dance Festival, and commissioned by DROP Dance in Boise, Hartford Ballet and Pennsylvania Ballet. In 2004 LPC was a guest performing company at NYU’s Tisch Summer Dance Program. Her performance credits include Julie Taymor’s film, Across The Universe, choreographed by Daniel Ezralow. She has performed the work of Mark Morris at Radio City Music Hall, and has danced with Risa Jaraslow & Dancers, Poppo & the GoGo Boys (NYC), Paule Turner’s c o u r t (Phila), Group Motion Dance Co (Phila), and Asimina Chremos (Chicago). Laura Peterson holds an MFA from NYU’s Tisch School and a BFA from University of the Arts. She has taught at Western Connecticut State University, Rowan University and has been a guest teacher at Hunter College.
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Tonight, I attended a very stimulating evening of performances as part of the Performance Mix Festival. Cynthia Hopkins, Karen Bernard, Layard Thompson, from New York and Nathalie Claude from Montreal delivered layered, sensitive, clever and shamanic performances with humor and sophisticated craft. Queer warriors mixed with holly madness, reflexions on mortality mixed with time/space travel. A trip! I was taken by the complexity, risk and the evocative power of their presence. It was an evening of edges and impossible stories about our human and post-human deliriums. Performances until April 5th!
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Alain Platel interview for Cinedans 2007 Film shown: les ballets de ci de là This documentary is shot to celebrate the twentieth anniversary of the company Les Ballets C. de la B. Alain Platel is filming his dancers and goes back to their roots. This results in moving images when one thinks of family reunions in Burkina Faso and Vietnam. Platel is known for his unconventional approach and makes the audience a privileged witness of a new work in progress. Winner Dance screen Award 2007(endowed with 15,000.- EUR)
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I interviewed the digital musician and performer Joel Ryan at STEIM in Amsterdam. 3/8/08. This is his bio: (he has been around!)

Spawned in the first generation of computer music hackers in San Francisco’s silicon valley, Joel Ryan is a composer who has long championed the idea of performance-based electronic music. Drawing on his scientific background, he pioneered the application of digital signal processing to acoustic instruments. At STEIM in Amsterdam since 1984, he has collaborated extensively with artists and musicians including Evan Parker, William Forsyth, George Lewis, Steina Vasulka and Jerry Hunt. Formerly a Research Associate in physics at the Lawrence Berkeley Laboratories of the University of California, he has taught philosophy, physics, and mathematics. He is a researcher at STEIM in Amsterdam, tours with the Frankfurt Ballet and is Docent in Sonology at the Royal Conservatory in The Hague. He has performed at the Theater Chatelet in Paris, the Concertgebau Amsterdam, the Pit Inn in Tokyo, Brooklyn Academy of Music and The Kitchen in New York. Recent work includes a series of duets with Evan Parker,Frances Marie Uitti and Joelle Leandre, EIDOS/TELOS, with William Forsyth and Roberto Zucco with the Royal Shakespear Company. Other works include Or Air, The Number Readers, Hat Moon Joy, and The Effect of Noise on the Sleep of Children. MMVI
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www.mediatisedsites.netMediatised Sites is the culmination of a six month interdisciplinary project involving artists from all over the world. Led by Tamara Ashley and Kate Craddock, these artists have been developing intimate response to their chosen geographical locale and communicating that response through online and digital media. The festival will include performances, discussions and installations created by these artists. Work in the festival will explore how technology mediates our perceptions of sites, landscapes and places, as well as virtualised relationships between each other. The day will also showcase work created by local artists in the tractors and attractors laboratory that takes place in the week preceding the festival.Day Pass: £8/£5Passes available from Dance City,, 0191 261 0505
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Meeting with Rudolfo Quintas & Sara Nuytemans

ART ON STAGE & bodig presentwithin the frame ofLUCYa meeting with: Rudolfo Quintas & Sara Nuytemanson Saturday, 22 March, 18:00at Platform Garanti CACİstiklal Cad. 115 kat/floor:3IstanbulRudolfo Quintas creates interactive environments in which he utilizes gesture and movement as a way of rendering participants’ subjectivity and intimacy in deep feedback loops. He will talk about “The Bodyment Project” in which he works, in collaboration with the architect Carmen Mazaira, on expanding the horizons and experiences of how a body can be translated to an environment and this environment as the memorial of a body. In this installation, as an Interactive Environment prototype, the sounds, images and physical structure will be shaped by the performative actions of the participants, designed with the Augmented feedback theory.Sara Nuytemans makes kinetic video-installation that presents the tension between what appears as sensation and what appears as perception. To achieve this she regularly uses technical happenings like sensored interaction and physical outputs. She uses computers, interface cards, motors, pneumatics and software to do this. In the lecture Sara Nuytemans will talk about her work and her way of realizing her ideas.The meeting will be held in
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dance-tech,net went to the opening of FEEDBACK@eyebeam. This is the description of the show: Eyebeam’s expansive new exhibition, FEEDBACK, surveys artists, designers, architects and engineers on the topic of sustainability, and presents their responses—19 projects varying from public art projects and industrial design to DIY energy solutions and software tools—to inspire discussion and action on this pervasive (and increasingly commodified) subject. As the culmination of Eyebeam’s Beyond Light Bulbs programming series, the show highlights the concerns, interests and work of Eyebeam’s Sustainability Research Group, with work by individuals, collectives, students, local community groups and the Eco-Vis Challenge winners. Free, artist-run workshops are integral to the exhibition’s design and are scheduled Saturdays throughout the show’s duration. I am curious about the kings of works are emerging in dance and new media dealing with ecology and sustainability?
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Wafaa Bilal grabbed the attention of the media last year with his performance Domestic Tension. Bilal, born in Iraq and currently teaching at the School of the Art Institute of Chicago, installed his living quarter at Chicago's Flatfile Gallery. Viewers could peep in on him anonymously 24/7 over a live webcam, chat with him online 24/7 over a live webcam. But the twist was that the camera was affixed to a rifle-sized paintball gun-and online visitors could therefore fire the gun and shoot at the artist, or anything else in his room. 24/7. And according to Newsweek, viewers have shot the gun 40,000 times in the project's first two and a half weeks. The work brought to Chicago the conditions of bombardment felt by citizens of his homeland.

Domestic Tension. Photo Chicago Tribune

In his latest work Virtual Jihadi, Wafaa Bilal reconfigures the Al Qaeda-produced on-line propaganda video game The Night of Bush Capturing to introduce himself a character in the game, a suicide bomber based on an image of a traditional Arab warrior, and turn it into a rumination on the plight and behavior of civilians caught in a conflict zone.

Virtual Jihadi, image courtesy of the artist

Bilal's mod and installation is based on a 2003 video game called "Quest for Saddam" that involved players fighting stereotypical Iraqi foes and trying to kill the ex-Iraqi leader. The game in turn inspired an al-Qaida-produced spin-off called The Night of Bush Capturing where the U.S. president is the target. For his piece, Bilal hacked into the al-Qaida game and inserted himself as a suicide bomber who is sent on a mission to kill President Bush.


His work is like one of the missing piece of the puzzle, we get some pieces while watching TV news but the picture is not complete and the media often leaves very little space for dialog anyway. I'll past an extract of the statement from the artist as i think every single word of it is worth reading:

My underlying premise for this piece is that hate is being taught - it's not a natural emotion. And video games are one of the technologies being used to foster and teach hate. I am especially concerned by the ones created by the US military, which are intended to brainwash and influence young minds to become violent. Though Al Qaeda's game where Bush is hunted down and killed generated much international outrage, the U.S. Army's own free on-line game is equal to the Night of Bush Capturing in its propaganda motives. Since I belong to both nations fighting in this current war, and since I am an American, I have the ability and right to question my own government's use of these video games to teach violence and hatred.

Along with shedding light on the power of video games and their manipulative uses by both Al Qaeda and the U.S. military, I want to show how civilians in war zones find themselves switching allegiances as a means of self-preservation as the balance of power shifts. Their cities are turned into battlegrounds, and survival is often a matter of obeying the power that exists at any given time regardless of any ideology.

This dynamic is apparent in various conflicts around the world, and even in any American inner-city where the gang members have more control than police; and civilians recognize this and refuse to cooperate with the police even if they don't intrinsically support the gang members. In Afghanistan, Afghani civilians switch sides depending on who is in power. In Iraq people are constantly switching sides. Most Iraqis who support the insurgency do so not because of ideology, but because of their need for security.

The fighting forces in the Iraq war and most wars do not represent the people of either of the warring nations. It's the fundamentalists - Islamic and evangelical -who fuel this violence, and force civilians to ally with them in order to survive.

So my character in the game will be like any Iraqi civilian on the ground, allying with the power which is dominant at the moment. At the beginning of the game the American soldiers are stronger than Al Qaeda, and I will ally with them, fighting Al Qaeda. But as the game progresses and Al Qaeda becomes more powerful, I will switch sides to fight on behalf of Al Qaeda. That is exactly what is happening in Iraq. The game will culminate with my revenge on the Bush administration for the destruction it has wrought on my country. I will be a suicide bomber who attacks Bush.

Virtual Jihadi, image courtesy of the artist

Bilal gave a talk last week at the Rensselaer Polytechnical Institute (the video is available online) and an exhibition of Virtual Jihadi opened the same night... to be closed the day after.

Wafaa Bilal's installation re-opened this week at The Sanctuary for Independent Media, 3361 Sixth Avenue in Troy. The piece was to be on display through April 4, 2008, as part of a month-long celebration of art, freedom and democracy at the Sanctuary.

Unfortunately, one day after the second opening the City of Troy closed the sanctuary due to "code volition."

Please visit the artist's website and show your support either by writing a letter to Shirley Jackson president of RPI (president at rpi dot edu). Or add your opinion in the chat room. Brian Holmes wrote a clear and well-balanced post about the situation a few days ago. I'd also like to mention an article in The Guardian which discusses the current lack of appetite for films about the war in Iraq.

When i first contacted Wafaa to get a brief email interview last week, i had no idea his work would be censored and his view would be silenced. I must add that his work came to my attention thanks to an email from members of the RPI arts department who are very supportive of Bilal's work. Now for your conversation:

What did your previous project Domestic Tension - Shot in Irak teach you? How did you use what you learned during the performance to develop Virtual Jihad?

Domestic Tension

WB: It reinforces my notion of the comfort zone versus the conflict zone. Because of image overexposure, we need to come up with smarter tactics and strategies in order to engage people. Otherwise we will continue to exist in the comfort zone while our collective power is taken away by institutions.

In Virtual Jihad, the main character looks like you and carries your name, why do you think it is so important to expose yourself so much personally?

WB: I wanted to place it in the context of reality, the need to reflect life in art. What better way to reflect what Iraqis are going through than a personal tragedy, casting myself as a suicide bomber after the killing of my brother. I represent so many Iraqis who find themselves vulnerable to a terrorist organization like Al Qaeda taking over their homeland. They either become violent because of the pressure or they are forced to join these organizations out of fear or they join because of their outrage at what the U.S. is doing to their homeland.

Why do you use video games as a medium for your interventions? What makes them more powerful or more adapted to the kind of discourse you are engaged in?

WB: Because video games have become the medium of our time, so many people use this popular medium to convey a message. With video games, people are engaged beyond art, their senses are engaged.

Showing your works must be challenging for art venues because all the media attention (and probably mis-understanding) they get. What is the experience you have with exhibition spaces?

WB: We are certainly experiencing the problem of an artist versus the establishment. We are using the power of the internet as an encounter. The internet levels the playing field. Video games are becoming more and more powerful because they bypass the censorship of institutions.

Your work has very controversial undertones. How much do you think this helps and/or impedes the audience to understand the message your work is carrying?

0aashootairaq.jpgWB: Sometimes the project itself becomes the trigger for the dialog. I'm not necessarily interested in imposing ideas or having a project that is dogmatic. I want the conversation to be carried on outside the gallery walls. The purpose is not art itself but the conversation it triggers

Can you tell us something about your upcoming book? What will it be about?

WB: It is called "Shoot an Iraqi: Life, Art, Resistance under the Gun" to be released in Fall 2008 on City Lights Press. It is basically a dual narrative of my Domestic Tension paintball project last Summer and my life in Iraq and the U.S.

Thanks Wafaa!

However, Wafaa still has one project going on. Online! Run to Dog or Iraqi and cast your vote to decide which one -- a dog named "Buddy," or an Iraqi, himself -- will be waterboarded at an "undisclosed location" in upstate New York. Waterboarding is a form of torture which dates back to the Spanish Inquisition. The person is immobilized on their back with the head inclined downward,, and water is poured over the face and into the breathing passages. Through forced suffocation and inhalation of water, the subject experiences the process of drowning and is made to believe that death is imminent. The person would (usually) be "resuscitated" at the last moment

Dog or Iraqi

A doctor and a vet will be on hand to minimize the risk of death to the dog or the human being. At the time i spoke with Wafaa, the dog was the clear winner of the contest!

I'll leave you with this video interview of Wafaa commenting on the RPI censorship:

Oroiinally posted by We Make Money not Art
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“Lucy” event in Istanbul

bodig & ART ON STAGE present:lucy20 March – 20 April 2008a cross-disciplinary exhibition at three sites for contemporary art, Istanbulura, studio live, platform garantiexhibition – performances – workshop – meetinglucy, the first collaboration between ART ON STAGE, founded with the mission to attract new followers in contemporary art and bodig, known for its projects questioning the relationship between new media technologies and the body; is inspired by the fluctuating inner world of a fastidious, bohemian, ecstatic, fragile, creative and powerful new generation.21 March 2008, 19:30 at URA!The exhibition invites this generation and their contemporaries to reunite with their imaginary friends, to confront their spontaneous decisions, to listen to and hum together non-existent melodies that linger in their heads, to participate in the primitive quality of the notion of time, and to go back home with one red apple after spending two hours at a vegetable market.participating artists:Phil Collins (UK),Beliz Demircioğlu (TR),Andre Gonçalves (PT),Ha za vu zu (TR),Ana Husman (HR),Sara Nuytemans (NL),Oliver Pietsch (DE),Rudolfo Quintas (PT)lucy is co-curated by Derya Demir and Aylin Kalem20 March 2008, 21:30 at Studio LiveDuring the exhibition, on the last date when night is longer than day, artists Rudolfo Quintas and Andre Gonçalves invite viewers with their lighters and matches to an interactive sound performance, 'burning sound' they are going to perform at Studio-Live. In their performance the artists analyze the contemporary strategies of invisible control, using fire.The event will begin with a performance by one of the most innovative composers in Turkey, performance artist and sound designer Tolga Tüzün (TR) and before 'burning the sound' Bisnov Project (TR) will present a performance featuring processed real-time images of the physical body. After 'burning the sound', the night will conclude with Diana Combo's (PT) performance where she is going to try to make everyone hear and believe that brand new spots and lines appear on her records every time they are listened to, by burning them, breaking them and gluing the pieces back together.performance artists:Tolga Tüzün (TR),Ururu (TR),Rudolfo Quintas & André Gonçalves (PT),Diana Combo (PT)22nd March 2008, 18:00 at Platform Garanti Contemporary Art CenterArtists Sara Nuytemans and Rudolfo Quintas speak on how they turn their imaginary worlds into reality using media technologies. André Gonçalves will go one step further by organizing a one-day long arduino workshop.For more
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We are creating this opportunity for collaboration and distributed authorship experimenting with on-line collaborative video editing. I propose to the members of this network to experiment with editing digital content collaboratively using the on-line editing platform JumpCut ( How to collaborate/participate: I am proposing two kinds of collaborative editing products: One that will be geared to develop the knowledge base for our network and another geared to create dance-tech mash-ups in a very open creative way using material generated by all the members. Real video dance mash-ups! Distributed authorship! sampling and remixing! 1.-Knowledge base (interviews, coherent documentation, etc) Editing the interviews for the podcasts of this network has been a great experience, specially because it forced me to constructively dissect the words and ideas of very experienced, smart peers and pioneers in the field. The author of the interview will upload raw cuts/clips from the interviews and its relevant performance/installation video material and any member (anybody) of the network will be able to: 1.-Access the raw material of the interviews and just watch (consumer). It is OK! 2.-Edit an interview with or without relevant material illustrating or augmenting ideas. (Prosumer). Super cool! 3.-You can also upload to your own account in Jumpcut raw material for the network and make it available for for other to edit. 4.-We can also re-edit and re-contextualize the already edited material. What to do? 1.-Create you account in Jumpcut and join to a group called " base". In this way we create a circle of collaborators. 2.-Select an specific "set" of clips for an specific interviewee and create your version. (let us know which one you are working on). The sets will have a name and a"ready for edit". That means that the set is complete from my end, tat I have uploaded al the material that I consider relevant. It is ready go for it! You may also use an edit what is there. 3.-Editing in Jumpcut is very easy and intuitive even more if you have experience with Final Cut or other. the interface is like IMovie on-line. IMPORTANT: the only guideline for the interviews is that you use the material that is given and mix it with the relevant topic. I suggest use simple transitions and no effects that alter color and speed. get krazy with the dance-tech mash-ups! 2.-dance-tech mash-up! 1.-We can create video dances on-line with uploaded material from public domain video material, from the network members or your own. So, if you are into it create your account in JumpCut and join (in Jumpcut) to a group called "" (or ""). In this way we create a circle of collaborators with this specific creative goal. 2.-Tag your uploaded videos "dance-tech.net_mash-up" (or dance-tech.net_knowledge) to know that it is available for this purpose. Your material will be public, therefore it will used for any mash-up within the system. Only upload material that you have created and have cleared any copyrights issue. IMPORTANT: join to the our group in this network to communicate and give each other feedback and distribute the work load if necessary. We can adjust and learn as we go along! NOTE: Jumpcut does not allow you to export the edited video.
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