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TELEMATIC INTERACTIVE DANCE INSTALLATIONS & PERFORMANCES SIMULTANEOUSLY IN FOUR NET-CONNECTED EUROPEAN CITIES WATCH VIDEOS ABOUT THIS PROJECT 3 to 6 December 2009 03.12 - 20'00 Performance 21'00-23'00 - Installation 04.12 - 20'00 Performance 21'00-23'00 Installation 05.12 - 11'00-18'00 Installation 20'00-21'00 Performance 21'00-23'00 Installation 06.12 - 11'00-18'00 Installation SIMULTANEOUS SITES OF THE PERFORMANCES AND INSTALLATIONS: DRESDEN (Alemania): TMA - Cynetart - FestspielHaus Hellerau MADRID (España): REVERSO - MNCARS PRAGA (República Checa): CIANT - Animation Academy NORRKÖPING (Suecia): BITNET - Louis De Geer Concert Hall With the CYNETart Festival in 2008 the Trans-Media-Akademie Hellerau (TMA) together with their partners from Madrid, Norrköping and Prague launched the project »European Tele-Plateaus – Transnational Sites of Encounter and Co-Production«. This network of virtual environments is based on the conceptual and practical activities that the TMA has been pursuing for many years and will be supported by the European Union through the year 2010. The project aims at creating publicly accessible virtual sites of sound and vision. By providing a virtual environment these spaces allow sensory-physical interactions over long distances in realtime. The visitors’ physical activities are linked and embedded in a trans-local virtual environment. Thus, so-called hyper-sites emerge which integrate various locally significant visual and sound processes via the internet. The concept of Tele-Plateaus intends to encourage interdisciplinary and intercultural ways of thinking and working as well as new forms of cross-border communication and co-operation. Tele-Plateaus is an international initiative planned to run through 2010 with an aim to create publicly accessible networked audiovisual sites. The main objective is to make possible and support real-time sensory-physical interactions of people over long distances. Therefore, we work to establish a permanent network allowing for direct audiovisual real-time interactions between similarly configured public sites and performance stages across Europe. Tele-Plateaus is composed, controlled and structured by movements of people from different cities. Within these networked stages and sites people from Dresden, Madrid, Norrköping, and Prague (among the first connected cities) can dance and play together. They can simultaneously create pictures, sounds, and light effects by means of their own movements without operating any additional interfaces. The shared virtual hyper-site is based on the generation of data that is available for processing to all computers within a common network. Movement parameters (speed, spatial position, etc.) are captured and digitalised by camera-based motion system and exchanged between computers at distant locations with a technically similar configuration. At concrete sites the numerically coded movement parameters are creatively transformed into audiovisual outputs and processes. Tele-Plateaus ultimately provides accessible environments for live telematic artistic performances and other collaborative activities. The project is co-financed by Culture 2007 Programme of the European Union for the period 2008-2010. Project is led by TMA | Trans-Media-Akademie Hellerau ( in co-operation with the Hellerau - European Center for the Arts, and is jointly produced with CIANT Prague (CZ,, REVERSO Madrid (ES,, and bitnet Norrköping (SE, Project Partners:: REVERSO - Madrid - ES - TMA - Hellerau- DE - CIANT - Prague - CZ - BitNet - Norrköping - SE - http://bnp.s Media Partner:: Marlon Barrios Solano - Synopsis: ETP_body-spaces09 – Exploration of Near & Distance is an experimental performance of four dancers with simultaneous actions in Dresden, Prague, Madrid and Norrköping. The interactive environment is web-linked and divided into four parts. Each part is bound to explore the relationship between proximity and distance in different ways within net-linked virtual environments. – Part I: body-visiting of Madrid – Part II: re-body-spaces – Part III: bodies & languages – Part IV: body-instruments
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Need Camera Crew to Doc. a NYC Hip Hop Dance

All positions needed to Doc. the current Hip Hop Dancer in NYC.please send me an email with your contact info & includeyour craft. Muilty task positions avail.Camera crew neededFirst Assistant DirectorClapper-loaderProduction AssistantCamera operatorFirst assistant cameramanSecond assistant cameramanDirector of photographyFocus puller/First assistant cameraGripKey gripDolly gripProduction Coordinator to handle the Production Dept.2 Art Department2.1 Art2.2 Sets2.3 Props2.4 Construction2.5 Scenic2.6 Greens3 Hair and make-up4 Wardrobe5 Camera6 Production Sound7 Grip8 Electrical9 EditorialCredit only low budget Doc.
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In a perfect world we would give all our music away for free and survive on touring revenue, merchandising and licensing income. Alas this is not always possible. In order to eat we have to sell a few CD’s. The good news is that much of our catalog has been released under this creative commons license We have made many Antiqcool songs free to download for a reason, we want you to spread them around. We are an independent record label not a big bad corporation who wants to sue you for file sharing, quite the reverse, file sharing is exactly what we want you to do.If you like one of our songs tweet about it, blog about it, link to it on your Facebook page, your Myspace page, or any other page you can think of. Place one of our widgets on your blog.Put our music in your podcast, play it on your radio station, Stick it on your ipod, play it to your friends, your cat, your dog or your pet hamster (not too loud they have sensitive ears).We are here can also find us on the Podsafe Music Network where all tracks are creative commons and cleared for non commercial use.
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WORK IN PROGRESSEukinetik Tech es un proyecto de Caída Libre / Brisa MP, que tiene como sentido estudiar el cuerpo en movimiento a partir de la informática. Más allá de la situación misma de interactividad que permita controlar video y sonido en tiempo real, entendiendo que un movimiento podría tener un sonido o una imagen, no como representación sino más bien como interpretación; los que preocupa en esta primera etapa, es estudiar el cuerpo desde lo que Laban nombra como “Eukinética”.Eukinetik-tech es un proyecto de creación de un software para danza y performance diseñado bajo un sistema interactivo en tiempo real que involucra imagen, sonido y cuerpo en movimiento. El proyecto experimenta en "physicalcomputing" teniendo como base el estudio realizado por el coreógrafo Rudolf Laban en 1928, quien determinó que los movimientos corporales se realizaban en base a tres cualidades: tiempo, espacio y energía l (“Eukinética”).

Creación de dispositivos inalámbricos para mapeo del cuerpo. Como primer problema " el espacio" , creando un sistema de motion capture (Mocap), en base a un sistema electrónico, un sistema de captura y programación que envíe datos sobre la posición de la zona mapeada en un espacio kinesférico. Tenemos que tener en claro que tenengo que alimentar un dispositivo inalámbrico, como lo hago seguro y liviano, que el cuerpo sea mapeable con luz o sin ella, que permita moverse sin demasiado peso en el cuerpo para que no nos limite tanto el movimiento.. desde acciones cotidianas hasta complejos movimientos de danza.Brisa MPFONDART Nacional 2009Santiago_ Chile
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tips for work

Living as an independent dancer has its challenges. While you have to provide your own Dental Plan, you do have the freedom to work when and where you like. Wildblue has offered me a job doing work. I may take them up on it.Have any of you had experience with this outfit? Have you been impressed by their treatment of workers or have you had a bad experience. Any tips or advice welcome.
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The Nature of Release

I had the first of 4 session on academic skills with the first yr performing art students today that focused on their physical preparation with regards to a warm up. I have always started with the practice of release. What I did was introduce them to some practical techniques regarding the phenomenal encounter of release, which I have broken down into 3 bits1 The release that is a result of letting go, concerning one's breath after breathing in; and how it affects the quality of effort and relaxation2 The release that results from a fall in movement and its smooth recovery3 The release that is a created after the relief from a good and demanding stretch that will align thephysical journal.There are more examples, including the release the comes after an emotional outburst and the release that comes after physical exertion. But I chose to concentrate the above 3 as it allowed me to focus on posture and alignment.
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Rhythmic code and Ifa

Hi PeepulsI have been working on how to utilise Simon Blackmore's experimental coded system that can trigger individual rhythms by tapping out a simple binary code with two sticks. Each code is tapped out in time with a guided click track, which then triggers a recorded cyclical pattern of rhythm in real time. There are similarities between 'binary code' and the 'Ifa code' in terms of their numerical structure. The Ifa is the traditional Yoruba's Divination code. The question that I am asking currently is, putting belief and divination aside, could there be a rhythmic link between the two codes that emerges as a result of their simularity? Is there inherent values/logic to certain patterns of rhythms or are they just arbitary? The concept of the return beat both organic and digital, is key to understanding the context of this research.This idea of 'code' is one of the components of Johannes Birringer's research project 'Ukiyo', floating worlds. We are going to Japan in Dec 09 to explore some of these ideas further. I am interested to see how the concept of code can be research practically within 'Ukiyo'Olu
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Roller Street Dance by Amirella

My dance is called Improvised Inline Street Dance : I skate only by dancing in the street. I invite you to discover some videos showing 'I and I Street Dance' on my favorite songs.

Nina Hagen - African Reggae

Crooked Stilo (USA) - La Charanga, from their album Cumbia Urbana

Let me present you my best friends from Argentina horny.gif

Axel Krygier - Looking for Summer Hit, from the album ZORZAL (zzk records)

Villa Diamante - Juana Molina Vs Benga, from the new album EMPACHO DIGITAL (zzk records)

DJ Alemegamix
- Cambio (Daddy Yankee Mix), from his album La Escuela de los DJ's

A mix of Atrevete Te Te from a friend of mine... with la traduction in english et en français sur mon blog hungry.gif

I love Cumbia, and I'm preparing a selection of Roots Cumbia for soon!

Super Grupo G
- Princesa Talibana (Mexico)

My first favorite song when I was 13: Live On Mars, from the unforgettable album Unbehagen

I do love Reggae and Dub music! I hope to built a reggae collection with Reggae Music from all over the world

This is a tribute to my friend Manutension, the leader of the band Improvisators Dub, who left us suddenly in May 2009. RIP Manu, we miss you.

I like the Oriental Dub of Fedayi Pacha, here's a Causasian Blues, from his new album From The Oriental School Of Dub

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Augmented Reality Ecosystem

V2_ is organizing an afternoon on Augmented Reality in which we will bring together, experience and discuss the emerging ecosystem around Augmented Reality in the Netherlands and beyond.Augmented Reality EcosystemDecember 4, 200912:00 - 18:00V2_, Eendrachtsstraat 10, Rotterdam+31 (0)10 206 72 72We will focus on the following sectors:- public/governmental- technology- commercial- education- culture & heritage- artistsThe participants will experience a small number of AR applications but the goal of the program is to have personal interactions and start a dialogue around how this "new" medium - which is expected to have mass impact on society in the near future - might develop and how useful collaborations between the sectors can evolve.More information on the program and guests will be announced on this website in the coming weeks. Layar, Second Life Europe, Marcel Wanders Studio and Wikitude have confirmed so far.This is a private event, if you are interested to join please contact us at ar-ecosystem@v2.nlAugmented Reality Ecosystem is part of the MultimediaN research program.External LinksDutch company Layar win Picnic prize 2009 will Augmented Reality affect your business by Havard Business Review respected Economist on AR
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Invisible Dancer

As a dancer, I see music and all of the shapes, lines, spaces and synergies within the moving music molecules. Jerry Leake’s “Cubist” CD sparks combustible creative energy, the context of which changes every time I encounter it … like “Aldebaran,” which starts with a ‘big bang’ on the tam tam, simple glass chimes, flows into jingles of hanging and Tibetan bell choruses, balafon, vibraphone and glockenspiel interludes, and timbres of low log drum and tabla (body shakin’) grooves. My “invisible dancer” responds and anticipates, expands, contracts, releases, spirals up/down, falls and recovers…whirling cosmic images within a rich musical tapestry that just won’t let her rest. “Cubist” will certainly inspire interesting and novel choreographies, the world round.

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Festival Panorama 2009 @ dance-techTV

Hello all, this is Marlon writing from Brazil! Tune in dance-techTV to watch performance excerpts, interviews and live broadcasts from Festival Panorama 2009, Rio de Janeiro. Watch video podcast about the opening night with excerpts of Lamentation (Martha Graham, 1930), La Mère e Étude Révolutionnaire (Isadora Duncan, 1921), Duo dEden (Maguy Marin, 1986), Steptext (William Forsythe, 1985). Also see, Nayse Lopez and Eduardo Bonito, festival curators talk about the festival activities. You can also watch the festival loop here:
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Back in June, during Eurokaz – The International Festival of New Theatre, Arlene Hoornweg and Pauline Kalker from theatre company Hotel Modern gave me an interview about their work. We weaved our talk around two of their performances - Kamp and The Shrimp Tales.

Photo by Herman Helle from Kamp

Hotel Modern is not a typical theatre company. Because of their visual aesthetics and the multiple use of cameras, sculpture, puppetry and various sound devices, you can find them regularly in books that cover topics of expanded, live cinema and new media art in cinematic context.For those of you who admire the work by Slinkachu, Nathalie Djurberg, Marcel Dzama, Josef Nagj, Tadeusz Kantor, Walter Martin & Paloma Munoz etc, the relation with Hotel Modern is like a theatre extension of visual arts.

Let’s start with the concept of your company… the concept is wider, it involves theatre aspects, but you are also notable company in the field of expanded cinema… but there is a lot of applied arts present even on your web site… I would call it visual art…. When did you decide to choose such aesthetics?Arlene Hoornweg: We like that!Pauline Kalker: Yeah, we have the website with many rooms. I think, it’s because when we made our first performance somebody suggested us if we would like to do a music theatre. That person thought that this was maybe something for us, we were very young at that time. Then she got an idea…Arlene Hoornweg: Yeah, I was playin’ guitar. That was after theatre school, and Pauline and I were searching a bit. After theatre school I realized I want something else. I wanted to perform, but I also liked music. So, I started to play guitar and I really liked making songs and I really got into that. Then the theatre director said, you can make a music performance if you want. I said, OK! Let’s do that. Then we asked Arthur Sauer, the composer to work with us. He still works with us. And then the three of us made a music performance and it was fun.

Photo by Leo van Velzen from The Shrimp Tales

Arlene Hoornweg, Herman Helle and Pauline Kalker

PK: Yeah, it was fun to go really into technique, because he had these little boxes which distorted our voices, like making high voices and pitched it. He had many different instruments, and Arlene gathered texts around the theme of life and death. She made a number from every text, like a song and Arthur had all these instruments and it was really like playing. It was fun to play with the technique of his music and sounds, to make a kind of landscape of sounds. I think we both like playing with it.AH: But we also found out what we can tell with text, what we can tell with music, for example. And that’s also what we do now, what we tell with images? What we can tell with text? We can tell a lot with images, and you can tell a lot with music; and you can tell something with text…

Photo by Leo van Velzen from The Shrimp Tales

PK: They all have their own possibilities. We both like the fact that the level of imagination in our performances is very high. I think we like to be in another world, to create the whole world, not only text. We want to create a really new universe. You need different senses for this. Because it’s not only one dimension, it’s not only people and text.For instance, like our latest performance we did with shrimps. It’s called The Shrimp Tales, actors are real shrimps. If you have a world that is populated by shrimps, which perform human activities that’s even more imaginative. Especially with cameras and small models Herman (Helle) is using in ‘Kamp’, you have literally a whole world build.

Photo by Herman Helle from Kamp

You have small models and you can be in that world, then you can make them talk with one another. You need sound to make an atmosphere. I think, if you have different media like music or visual art with sound and little bit of text sometimes, the imagination becomes even more intense, more then having only a painting. Well, it’s not better then another, it’s just what we like.You have many layers; that’s natural…AH: Yes, that’s the way we look at life. That you have so many layers, that there is not only one. There are lots of artists who want to have the essence, or a focus they are trying to pick up. That’s also very nice, but we want to pick everything out of the world to show the richness, and the layers. We also want to show the enormous cosmos.

Photo by Hans Werlemann from Rococo

Your performative technique is very specific… where would you place yourself as performers?PK: That’s different from each performance. For instance, in The Shrimp Tales we are using these little microphones and we are dressed up like we are a kind of glamorous or punk band with light on our faces. We are moving the shrimps and we do a lot of voices, we really have to make shrimps performing. At the same time we also have screenings and projections on the wall.So, the audience can see huge shrimps in a shrimp world and can be focused on it. They can also look at us; we are also performing as actors, playing the scenes and animating the shrimps, doing the voices of shrimps. The audience can watch us, too. We are really performing as actresses, we are really there. We are showing emotions on the face, and we are aware that the audience is sometimes looking at our faces to see our emotions, and then they look at the shrimps again.

Photo by Herman Helle from Rococo

With ‘Kamp’ is more sober. We are part of a machine. We are there, but we are like in a machine. In that way our bodies are telling the kind of objectivity that in ‘Kamp’ is kind of objective, in factual way. Our performing is anonymous and factual, we have really choreography. We sit down or get up in the same time, the rhythms of our bodies and the moves in that way are related to dance. We are really aware of how we stand or how we look. We choose a neutral way of being there. In ‘The Great War’ we have the text, and the text is a bit like songs, but for acting… it’s very very short. We do it like text but more in a song way. We are aware of our voice.When we are a part of the machinery we are also partly technicians at the stage, like cameraman. We have to run around getting the machinery going. At the other hand we also make sounds on the stage.

This multi-functionality is pretty logical these dayz… Besides, it’s the way you express yourself within many different techniques… you function like a post rock band…PK: Because we are a group, it’s more like a band. Herman brings his models, I bring the story line, Arlene her performing skills, you know. So, when thinking about the content, we did all things together. Composers are bringing sounds, and we all bring stuff together into the whole artwork. So, the artwork has a special energy.Yeah, it’s a mash up of your ideas and thoughts…. Could you describe me the processes of your work?AH&PK: First, we never now! (laughter)PK: After every show we have to start all over again. It’s like a cliché, but it’s true. You think you know nothing.AH: Yeah, nothing. What we are going to do?! Sometimes you get nervous, but sometimes you don’t. Then we start to write down our ideas and thoughts. But it also depends of the project. For ‘Kamp’ it was a very specific idea that came up. For ‘The Shrimp Tales’ the ideas came from many different ways and we had gathered them and developed it from ideas we had last few years.

Photo by Joost van den Broek from The Great War

PK: There is always a starting point. There is always this one person who has the beginning idea, because only one head pumps up. So, for ‘The Shrimp Tales’ it was my idea to get shrimps out. Actually it was a comedy idea; basically I wanted shrimps performing people. Then we had some ideas and we decided to do it on the stage. So, that’s much opened and very specific. We had an idea from before, the idea of showing the city. So, that’s how we connected it. What’s in the city?! What happens in the library, or in the museum, or hospital?AH: Then we decide either we want them on the ground or on the tables.

Photo by Joost van den Broek from The Great War

PK: Going from these ideas there are many moments to turn on your fantasy. We really have to make it work. We collect many ideas and then we choose the one we like the most. After that, Herman makes the model of that and we collect our stories and connections in the plot. We want to get the atmosphere of these places.Herman first makes very simple model which we use for improvising things. Then we start to talk and write a little bit to work it out. We combine many ideas, and then we choose the one we like most. We pick them together and make a good scene of it. In the process we also make a lot of crap, so we choose really good ones. That’s basically like shooting with a lot of bullets.

Photo by Joost van den Broek from The Great War

You are cleaning the mess of ideas…PK: Yeah! First, we create a mess of ideas, because we have to create a lot of ideas in order to play with them.AH: And, of course, we discuss a lot about it. What the performance is about, and what structure does it have? Why we want to use some things, why not other, and so. In ‘Shrimps’ we ended with fifteen scenes in thirty minutes, and that’s a lot.PK: In ‘Kamp’ it was different, because the story was already there. We just had to decide what part of the story we want to show. At the end we finally chose the basic things, maybe like a cliché – gazing, crimes. For us, we don’t want to be original in what we tell. We want to tell the basic things and the most shocking, the basic things in a way.

Photo by Joost van den Broek from The Great War

For instance, there were also medical experiments in Auschwitz and we wanted to have a scene also showing that. Because, we didn’t want to use texts, the image of medical experiments that we made didn’t communicate at all. Then we decided not to put it in. Not everything has to be in and dedicated. Instead of that, we thing that it has to be consistent and in a way balanced. We also have execution in performance, but we didn’t show every way of execution, but only one. It was quite difficult to choose which element we want to show. So, that was another path.AH: Some things are the same, and some not because the material is different.

Photo by Herman Helle from Kamp

Seems like covering the topic of Auschwitz in ‘Kamp’ had stronger effect with puppets and big screens, instead of acting… People find hard to comprehend the fact of evilness… Atrocities and killings are happening now in this very moment in Africa, Asia… but we are never enough prepared for those facts…PK: I think it’s good to have different ways of telling. As preparations for Kamp we were watching documentaries with interviews of the survivors. I think that’s the best way of telling… just listen to the stories by people who were there. That’s really authentic, but it’s good to have other ways to complete the whole image. There is not one way, the best way of showing that.I think, with the testimony you can get the story from really the first source. It’s very very good to try to show it with images, documentaries or, like us, with puppets. It’s good to have these different ways of going around the theme.There is not one good way. It should be from different art forms to different media. Monuments, radio and so, actually everything that contributes the commemoration, reflection and realization of what happened.

Photo by Leo van Velzen from Kamp

AH: There are so many artists using different ways to talk about this theme for very different audience. There are different ways to get in touch with it. Some people came to our performance and they said: it’s so distant to me, you know. It doesn’t click. It’s good to have all these books and art forms to trigger them. That’s the way people can connect with the image and to get to emotions. Some people can easier connect with books, some through image…PK: People have different portrayals. It’s also different if you want to commemorate or if you want to grab information. These are different things. Those are different purposes actually. There are different things you can do towards the theme: memorizing, contemplating…

Photo by Herman Helle from Kamp

Connecting these things with what happened in Bosnia, or in Rwanda. That’s also a relation, to make connection with the world today. I’m happy to see that many artists within different media are relating with the theme, making different relations and actions towards it.Arlene & Pauline, Thanks a lot!Hotel Modern is at the moment at world tour. Check here dates; maybe they will stop by near your neighbourhood soon…(This interview was originally published on Personal Cyber Botanica:
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Tiradentes square, subway stations and, of course, the main theaters in Rio de Janeiro, São Gonçalo and Baixada Fluminense. These are the "stages" of the 18th edition of Festival Panorama de Dança. This year, the program goes from 5th to 15th November, bringing to the public dance shows of more than 30 artists, from Brazil and abroad, and also a video installation by William Forsythe, a seminar on the economy of dance, a university showcases, a project of audience development for training the public, dance workshops and "Panoraminha”, a program dedicated to kids. The activities have popular prices or free entrance.Panorama’s opening night on November 5th is a tribute to the Brazilian critic and curator Roberto Pereira, who died in June, at age 43, leaving a legacy of solid academic research and appreciation of dance history.A small but precious program, with the pianist Cadu Pereira as a special guest, is set to remember the beginning of the movement in film, something that Roberto would love to share once again.The opening night goes on with CNN Ballet de Lorraine (photo) and its Répertoire, a journey through the multiple possibilities and conceptual breakthroughs that helped to set down contemporary dance as we see it today, with pieces by Isadora Duncan, Martha Graham, William Forsythe and Maguy Marin."More than 18 thousand people were attended in 2008. What sets us apart from any cultural event held in the city is our ability to expand the circuit of dance to underprivileged neighborhoods with popular prices" said Nayse Lopez, Festival Panorama de Dança’s curator.Stay tuned! Visit for more information and follow @panoramafest on twitter.
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