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Back in October I spoke with Thomas Dumke about CYNETart Festival and performative arts in the context of new media art. Our conversation was possible thanks to Sonja Lebos from, Association for Interdisciplinary and Intercultural Research, based in Zagreb. Sonja's organization is deeply rooted in architecture, urbanism and new media art.

Thomas Dumke with the background by Monolake Live Surround Taken from

Thomas then gave a lecture in the net club Mama about the history of Festspiel Haus Hellerau, Trans-Media-Akademie Dresden and the festival.Thomad Dumke studied history and sociology from 1997–2002 at TU Dresden, postgraduate in culture & management. Since 1999 Thomas Dumke is part of the international festival for computer based arts CYNETart in Dresden, in 2000 he initiated together with the »microscope session«, an event for audio-visual concerts, founding member of TMA Hellerau in 2001, from 2006 he has been the director of the CYNETart festival. He is a member of the artist collaborative

Let’s start with the concept of your festival CYNETart… I find it very interesting and slightly different in comparison with other media art festivals, because you didn’t give up from the body…TD: The Trans-Media-Akademie organizes annually the CYNETart Festival and we understand media art more as a research approach and within this we are focused more on the changes of our perception and self image of our movement or our body feeling in relation to ongoing mediation and mediazation processes.We are interested even in our relation with the human environment. This is somehow our, lets say, scheme or issue. If we have this scheme for body and space relation or our body environment relation, the question is how we can use media technology to make us aware of this relation? There are also somehow rational aspects, because we are using objects with technology. It’s not esoteric, para-psychological or whatever.

Jacob Korn and his Harmony Universe (c) Taken from

It’s cybernetics! It means that everything is provable. But we think that we can use technology to make things experienceable or sensible, what in normal case is not experienceable. We are trying to establish with our CYNETart Festival a platform to present a different kind of performative installation works or even stage performances. We have also workshops and club events for the younger audience.So, it’s also a community oriented festival, because it seems that you want a reaction by the audience?TD: Yes! This is also very important. We don’t want to be hermetically closed for the audience. That’s what we are really trying to achieve within Tele-Plateus project where we would like to establish virtual environments, interactive environments in the public space.Tele-Plateus should function in that way with a public stage, or even something like a star gate for other cities. Virtual environments should be connected to each other, to give the citizens of these cities the possibility to interact with audio, sound and visual elements. Somehow, this is an abstract way, nothing like Skype connection or so. Today, you can make face to face connections like on TV.

Photo: mb21 backup taken from t-m-a

We are really trying to stay at some abstract level, because we know from previous experiences that when you hear and focus on one point, then you are able to activate your potential imagination. I mean, literally I don’t know you, but I have got the feeling of you…If I have a contact with your shape or with your sound, maybe I don’t know you, but your are on remote and I have a contact with your generated sound. And you are interacting with my sound, too. This is this point, we meet each other on the sound level and the task for the audience or the composer is to give a set up of one environment, which should be easy going or just easy approachable to have this kind of experience.Experience in which I am with somebody, but for instance three people with me projected in one space, of course this is hyperspace and it’s only in mind. It’s not for real, because all scales and environments are on different places and in that particular time, if you are active with each other, we are sharing one space, and this is sound space and the space in your head.

Mortal Engine by Chunky Move (c)

I’m glad that you mentioned just now this important aspect of hyperspace in the context of perception or mental space, lets say colloquially ‘in the head’…TD: Yeah, yeah. Even the whole process that is going on at the moment, if we really observe the internet natives, these new generations that are going up… My experience was like this, if you met somebody offline. Let's say it in terms of online and offline reality. There are totally different intentions in real life, a totally different way of perceiving things. That’s sometimes funny for me, but it does not have to be funny for other person.

Ballettikka Internettikka (c)

Even if you are in the relationship with somebody who is not online, she or he can’t understand what you are doing all the time. This is a thing in our cognition process, what Marshal McLuhan have postulated in the 60’s. This global village metaphor which is now happening… From the mental point of view, the fact that we are all coming together is based on television, online life and social media thing. This got somehow real, this webness and activities…Of course, and this urge to be connected… and the feeling when you are offline that something important is happening online, and you are not there to see it or try it… sometimes it’s haunting… How do people react to you concepts?TD: We have got mostly positive responses to what we do. I think, it’s always a decision of their own, if they got it right, if they understood this abstract level of sound and visual aspect. Somehow, we are all conditioned by Hollywood and totally illusionary media worlds that have to be colourful and more real then real in details. What we are doing is totally opposite. We use the senses with sound with an aim to make an impact, but a real one. Also, it gives you a chance to put there your own stuff according to things you actually perceive and receive.

Jacob Korn Live AV with hypecycle (c), taken from

For instance The 'Schlamp' installation by Frieder Weiss and Emily Fernandez has opened pretty interesting discussion on computer games, does it make a difference if I’m shooting on a real person or 'real character' that looks more like a real body? Or maybe I’m only shooting on black square or an abstract thing. I think that in a psychological way or mentally it makes no difference. Our neurons and brain have the same neuro-electric processes whether we are shooting digitally or for real.We had interesting experiences while presenting installations where people were projected on the street or on the floor. After some time passers would start to jump or trying to hit digitally projected people. They just kicked them out and showed that they don’t have respect for the virtual re-presentation because it’s not real. I think, this case shows the current issues even if you look to finance market. It’s raising up on the virtualization of the world.

Chunky Move (c)

Why the market has collapsed? Because there is no relationship to the real world. Like in the past we had the relation to the material world, like gold used to be in the past. It was like a never ending game. How we are dealing with this virtual reality thing? Is it a quite similar world? For instance, we are jumping faster but in the music industry, actually everything is the same, there are terms like sharing, copy right and so… The question is what is this virtual world? Why we are sharing so simple, because we can digitally re-produce things quite simple. We do not care about copyright anymore.

Photo: tma (c) taken from bodynavigation

I’m still buying vinyl, because I are really like music, but I can’t share or copy this vinyl. So, it’s something that has this aura thing which I think is increasingly present lately, to experience things in our real environment. A good aspect of virtual environment is that you can’t reproduce a video, a record or a CD, but you have to experience it by yourself.In the same category we can discuss on watching interactive dance, because dancer can experience this interaction but the audience not. Dancer is inside and the audience is not. This is one quality aspect and it has some kind of aura. This self experience can be in local virtual environment or in networked virtual environment. This is new, it could be development and comprehend.

Photo: Zeitgeist by Hjørdis Kurås

But the whole story is pretty much based on performative aspects, dance...TD: It’s based on performance. Actually, we don’t like to work with dancers, we have a local school in Dresden and there are lots of dancers. The thing with dancers is that they are educated somehow in the direction of the quality of movements, release techniques, different dancing techniques and so. You know, it looks like Forsythe or it looks like something else. Of course, there are different types of new students coming to the new repertoire and they would like to test generated sound and visuals.Usually, they are coming with all the movements they have learned in school and they don’t listen to the sound or just react to this base, which is a mistake. But, what is happening during this processes? If you have a feedback effect or closed circles you are inside this instrument, and inside this environment you have to react to each other.

Do androgyns dream of electric sheep by An Kaler, dancer: Gregory Holt

Sure, it's not important what dance technique you're using, but the way you comprehend movement as it is...TD: It doesn’t make sense if you make a ‘William Forsythe movement’ because the instrument and your environment don't know that. Hence, it doesn’t recognize that. The instrument recognizes your movements, intensity or something like jumping. But, it doesn’t recognize the special quality of typical dance forms. I don’t like to work with professional dancers because you have to push away this conditioned way of how to move through space.There is no sense to do some technique in such environment. This is our approach. You have to experience by yourself and you have to use it like an instrument. Even piano players use different interpretations, especially in comparison with Jimmy Hendrix and the way how he used electric guitar.

Photo by: Matthias Härtig/TMA Hellerau taken from flickr

It’s different and at the other hand it’s the same in performing arts and in fields where you have to think on how to move. Even sometimes children or common people are much better for that, because they are free minded to do it. They don't think something like Oh, I'm not doing this right or I don’t act like this! But, because they do spontaneous things and even then, slowly and by listening, step by step they can get the felling on how to move or to figure out the environment. It’s very important to get the feeling how it is inside. What is happening when I move and what's the feedback I got. ‘When I’m shouting in the wood it always come back to me’ principle is similar to electronic interactivity.You mentioned before William Forsyth… He is very connected with the city of Dresden…TD: Since 2006 he has his residency in Dresden. Something like a special cultural policy contract among the cities of Frankfurt and Dresden with the states of Hessen and Saxony. These four partners finance the Forsythe Company. Three or four times per year he comes to Hellerau in order to work with dancers.

Synchronous Objects by William Forsyth

What do you think about his data visualization project Synchronous Objects? I was really surprised when I saw it...TD: Oh, you mean his improvisation project… His method is more about archiving. His technology DVD is more about how the Forsyth method is working. He chose one of his performances One Flat Thing to show it on the internet. It’s totally complex documentation, notation and interpretation of his choreography and performance. It’s amazing, but it’s archiving.The other aspect that I haven't experienced yet is the use of technology in his stage work. I mean, I saw what he was doing with the sound manipulations. He was influenced by neuro-science and he took the idea of what is going on in neuro science to re-adapt it into his dance pieces.

Cynetart 2009, Automatic Clubbing taken from flickr

Where do you see CYNETart festival in comparison with the similar European festivals and what kind of opportunities artists can have within your framework?TD: I would say that we are really unique because we are really focused on this concept of performing arts combined with new technologies. We are not doing only exhibitions and public events like workshops, screenings and so. We are interested in the working processes not only in single, produced and ready for the market art piece.We want our guests to demonstrate their working processes and stuff like that, but at the same time to get in contact with the audience.This is really important. We like when these sides, artists and the audience exchange their position. That means, that we really like this participatory approach in installations, as well as the younger audience within our clubbing programme. OK, we have this unique location, die Festspiel Haus Hellerau where we can use these big halls for dance pieces or bigger installations. There are also small stages and smaller halls where we usually organize meetings, smaller exhibitions and so...

Johannes Birringer (c)

Our Call for Proposals is internationally recognized, it usually starts in December right after the festival is over, and what is also unique is our scholarship for new media art with an amount of 6.000 Euros. We also have a big grant project supported by the Ministry of Art and Science with an amount of 10.000 Euros. Of course, for our contests and awards we have a grant of 5.000 Euros. So, that means that we have a lot of money to spend, and we want to spend it on a quality programme. I mean, in comparison with the mayor media art festivals in Germany and Europe, like Transmediale, these sums are not so big...

Cynetart 2009, Automatic Clubbing taken from flickr

What do you think about low budget technologies, DIY technologies in the context of media art?TD: When you compare different motion sensing systems, you can find among them many really low budget projects, especially compared to motion capturing system which is really expensive and needs very sophisticated equipment. You can work with an average computer, the only thing that you need of those special equipments is a TV card or an observation cam, but if you spend maybe 5000 Euros, you can have it by your own.This is somehow the middle level, this DIY level and it will be used more and more, because technology is getting smarter and cheaper. We will have a generation that will be capable to do everything by their own. I think this will be the future!

Language Game by Kobakant (c)

Even in the context of Internet, the so-called digital culture or internet natives... I think there would be more and more projects specially designed for this kind of audience, also taking place only on the internet which would know to differ real present activity in the future. Then E-tribal art, and of course this RFID thing...I know that Johannes Birringer from Tirier University is doing infrared sensitive clothes. This is quite interesting from sevelar aspects, one thing is this possibility of connecting everything, but then the author must ask himself, what can we do with this multiple connectivity?Thanks a lot, Thomas!This interview was previously published on Personal Cyber Botanica blog
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Agecif et formation aux Arts Numériques

Face au manque criant de formation dans le domaine des arts et spectacles numériques, hors pratiques et techniques artistiques, l'AGECIF lance trois formations spécialisées notamment en partenariat avec le Zinc à Marseille : Médiation des Arts Numériques, Production des arts numérique et Communication des arts numériques. On pourra télécharger au bas de ce post les présentations de ces formations.L’AGECIF se place au service du secteur culturel, des entreprises, institutions et organisations qui le structurent et des personnes qui le font vivre. La formation professionnelle continue pour renforcer les compétences, et faciliter l’engagement d’artistes ou de techniciens. Elle intervient sur l’ensemble du territoire et en particulier à Lyon, Marseille, Bordeaux, Montpellier, Clermont-Ferrand, Tours, Orléans, mais aussi en Normandie, ainsi qu’à La Réunion, en Guadeloupe et en Martinique. Elle s’inscrit dans une pensée européenne. Elle est membre fondateur du réseau européen des organismes de formation sur les questions de gestion culturelle, l’ENCATC. Enfin, pour compléter son offre, l’AGECIF vient de créer une filiale, une société d’expertise comptable inscrite à l’Ordre des experts-comptables, spécialisée dans le secteur culturel et artistique : AGECIF Conseil.Informations : formation@agecif.comWeb :élécharger :Médiation des Arts Numériques : 1@ MEDIATION DES ARTS NUMERIQUES-10-01-25.pdfCommunication des Arts Numériques : 2@ COMMUNICATION DES ARTS NUMERIQUES-10-01-25.pdfProduction des Arts Numériques : 3@ PRODUCTION DES ARTS NUMERIQUES-10-01-25.pdf
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Over the past 10 months we have been creating a dance theatre work which strives to take the bboying dance form into new territory. "White Caps", a live and film performance for the Bristol Old Vic in England, aims to explore the full expressive depth that the bboying technique holds, following the journey of two young men as they embark on an epic adventure in a compassionate, exhilarating search for completeness.We documented the process we went though to create this work, which i would like to share with you. Here are links to an episode of our production podcast and the latest teaser trail we have for the work.Hope this is of interest to you.Podcast Episode 3: youWilkie Branson
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1|11|2005: The site named 'videodance' that is part of emptyfilm website is launched as a beta version, including 5 videodance films with overall title '5 Paths'. These films were co-produced by the Greek State School of Dance and the British Council as part of a workshop taught by the filmmaker Margaret Williams. It contains the history of videodance, from 1880 to 2002, theory and reviews on this hybrid form of art that combines dance and film, bibliography and links.Since 2005 the production of videodance films increased in number. More festivals were created, symposia were organised and manifestos were written.In January 2010 the videodance site became part of a bigger project called 'seen[empty]scene' and is still part of the emptyfilm project, curated by Demitri Delinikolas, that is a research project on the application of internet in the production and distribution of digital cinema. The 'seen[empty]scene' project contains three sub-projects. The first one explores the art of videodance whilst the second one is dedicated in performance art, and the third one is dedicated in dancetheatre.'Seen[empty]scene' is curated by Eleni Karozi.All three websites are under construction but will be launched
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Dublin, 11-26 September 2010 Dublin Fringe Festival16th Dublin Fringe Festivalinvitation for submissions for its culture jamming line-up of contemporary Fringe Festival is delighted to welcome submissions for the 2010 edition of ABSOLUT Fringe. For two weeks in September Dublin will be captivated by theatre, dance, music, visual art, live art and street performance from Ireland and around the globe. We invite you to join us in making it happen.Dublin Fringe Festival has always been the natural home of artists who are ambitious, adventurous, innovative and fearless, and who make work in all kinds of places and spaces around Dublin city. This year, a continued emphasis will be placed on new work that reclaims more of our city's empty spaces and experiments with performance and experiential arts on a grand and minute scale.In 2010 the festival will have a particular focus on works that engage with the theme of community, to be interpreted as liberally and imaginatively as possible by the artists we work with. Too often 'community' becomes a byword for disadvantage and exclusion where the myriad possibilities of community, both on and offline are ignored.Dublin Fringe Festival would like to re-imagine the idea of community in 2010. To do this, we need you, artists and thinkers, to make it happen. We want to hear your ideas whether you work in theatre, music, dance, visual art, street-art, film, multi-media or beyond.Contact:Dublin Fringe FestivalRóise Goan, DirectorSackville House, Sackville Place, Dublin 1Irelandtel: +353 1 817 1677fax: +353 1 817
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call for entries

Hi everybody,since some years we are organizing the project series called "media motion". It is dedicated to artists in the field of dance and multimedia. The performances take place at m.a. studio, a studio near Zürich, Switzerland. We are looking for interesting projects to be scheduled for 2011.For more information, check and/or contact us through our website.
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Alastair Macaulay is a bored man. The New York Times chief dance critic, an import from London, has been holding down a position of outsized power that he never merited. When he first got here, I thought he'd bring a voice of passion, which I value. But, for the most part, I stopped reading his work when it became clear that his experience and sympathies mainly run to elite choreographers—Balanchine, Cunningham, Paul Taylor, Mark Morris--and a handful of other artists he deems masters of the craft. Ask Macaulay to stray beyond his comfy zone, and he loses it. Read the rest of this post here
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Pier Luigi Capucci [This paper was originally presented at the International Conference “Consciousness Reframed 10 – experiencing [design] – behaving [media]”, Munich, MHMK, University of Applied Sciences, November 19 – 21, 2009] The idea of “simulation” is a very intriguing, multifaceted and complex issue. Words like “verisimilitude”, “emulation”, “imitation”, “copy”, “reproduction”, “clone”, “replica”... are commonly used. In our everyday life we imagine situations, events, projects and decline them to the future: we simulate possible worlds and test them in a sort of permanent “what if” which is continuously reworked and modified. This process has been methodologically formalized in the sciences, where we build models, simulations, which try to describe facts, events and phenomena. Models and simulations have a very important cognitive role in knowing and understanding the world we live in. Simulation is also at the basis of human communication and it has been often theoretically discussed in the media field [1]. In 1991 Gianfranco Bettetini, a semiologist mainly working in the mass media field, wrote that “... every language, whatever the materiality of the signs is which structure it, gives birth to operations which can’t find a more appropriate term to be defined than ‘simulation’. Whatever may be their style or genre, the writer, the painter, the photographer, the cinema and television author, the computer graphic artist... simulate.” [2] But, in a wider, general view, every device humans design, build and use has at least to simulate how it can be grasped by our perceptual system, by the senses, by the mind, or work with the body: which means that it has to simulate some of the body’s operations, structures, functions, behaviours... So oral language, written works, television, press, Internet, simulate because they tell us stories which try to represent or describe something factual or invented related with the world we are in. In this “diegetic simulation” the signified communicates something more or less familiar and shareable, although not necessarily true or existent. Simulation and representation But simulation also concerns the nature of the signifier. Computer technologies refer to simulation, although they add specific possibilities (i.e. the copy&paste action). The visual interfaces of the computer’s most popular operative systems simulate some visual properties of the desktop in order to be more intuitive.


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AUDITIONGilles Jobin Dance Company (Geneva-CH) is auditioning1 male + 1 female contemporary dancerCreation period june, september-october-november-december 2010-01-19Tour 2010 and 2011 season. Very strong contemporary dance technique andexperience needed. Audition will take place in Geneva and/orParis/Berlin/Bruxelles in February. By invitation only. Please send acv/résumé, photo and short motivation letter by email. And a link tosee videos on your dancing on the web (youtube, myspace, etc...)audition@gillesjobin.com
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por Quim PujolLos seres humanos poseemos una escasísima inteligencia y unas habilidades perceptivas extremadamente limitadas. Eso hace que todo objeto que no encaje en una categoría configurada de antemano produzca ansiedad y rechazo. Por oposición, cualquier cosa reconocible y perfectamente categorizable nos alivia. El placer del reconocimiento.¿Es la historia lineal o circular? ¿Tendemos hacia el progreso? A pesar de la dificultad para hallar modelos matemáticos que encajen con procesos históricos, está claro que la involución es una figura recurrente. Ningún avance puede darse nunca por sentado: tarde o temprano correrá peligro. Backlash, que se dice en inglés.La Porta me ha encargado que escriba un texto sobre su proyecto Sobrenatural. Se trata de una serie de vídeos comisionados para mostrarse por Internet. Antes de sentarme a escribir, los visiono una y otra vez y constato la dificultad para hacerlos encajar en una categoría preexistente. Ansiedad y rechazo.Delfín Colomé explica en 1989 que el éxito de Maurice Béjart se debe a que “sabe lo que hace y por qué lo hace. (…) Y lo hace porque –de acuerdo con el pensamiento sobre el que basa su acción- es el momento de hacerlo”.Si el cine se inventa al final del siglo diecinueve, las posibilidades expresivas de este medio sólo se desarrollan a lo largo de las décadas siguientes.Riefenstahl, Lang, Kubelka… Cada uno de ellos aporta un granito de arena en la exploración de este nuevo lenguaje. Si hacemos una analogía con Internet, debemos concluir que a pesar de los abundantes ejemplos de arte digital, el grueso de las posibilidades expresivas de este medio aún están por descubrir. Nadie de nosotros sabe todavía dónde conducirán proyectos como Sobrenatural. Algunos quizás desemboquen en exuberantes paraísos y otros en vías muertas. De lo que no cabe duda es que es el momento de hacerlo.Al visionar/accionar los vídeos interactivos diseñados para la red por Olivier Otten en, nos preguntamos: ¿terminará la interactividad en los audiovisuales de la red cobrando el mismo protagonismo que el sonido en el cine?A primera vista, el medio –Internet- parece obviable en algunos de los vídeosde Sobrenatural. Quizás algunos de ellos sean tan sólo videoarte. Tras esta primera impresión, examino con más atención este material donde el medio parece carecer de importancia. De repente, cambio de opinión: hay algo distinto en estos vídeos. Algo que no depende de mi interpretación, sino de la situación en sí. Yo a solas con mi ordenador en casa. Estoy mirando estosvídeos de forma diferente de como lo haría en una galería o en una sala de proyección.¿Cómo afecta el medio de difusión a estas piezas? Al salir del espacio dedicado al arte, en un primer momento estoy tentado de acordarles menos valor a estos vídeos. Un cuadro no luce igual en el Reina Sofía o en una esquina en la vía pública. Una obra escénica no se lee igual en un teatro o en una estación de trenes. Al sacar estas piezas del espacio que se delimita para el arte, se liquida rotundamente su componente auréatico y exclusivo. Esto hace que el proyecto no sea fácil de comunicar ya que, debido a la falta de aura, las mentalidades más conservadoras probablemente afirmarán: esto no es arte.Un país donde se trae a las grandes figuras que cambiaron la historia del arte como mínimo 20 años después de que lo hiciesen, un país donde todo lo que no cuadra en ninguna categoría clara en su sentido más tradicional -como “danza” o “teatro” o incluso “danza-teatro”- se arrincona porque resulta incómodo, un país donde la mayor parte de programadores e instituciones son incapaces de apostar por algo por lo que no haya apostado ya todo el mundo. Un país dominado por el placer del reconocimiento.¿Cuál es la diferencia entre estas imágenes y los vídeos que circulan por Youtube? Algunas obras de Sobrenatural destacan por un riguroso planteamiento conceptual, otras por su compromiso social, o bien por su estudiada composición estética, o sino por elaboradas estrategias que provienen de la tradición escénica. No, no se pueden confundir estos vídeos con el grueso del material que habita Youtube. Sin embargo, una pequeña proporción de los vídeos de Youtube sí que ofrece características similares. Internet democratiza la difusión del arte y demuestra que todos podemos ser artistas sin tener que pedir permiso a nadie. Si Marinetti preconizaba a principios de siglo que había que quemar los museos, esta tarea se ha vuelto innecesaria: sus opulentas paredes se disuelven en el aire.“(…) las consecuencias del ’92 fueron desastrosas. La época de la normalización había concluido y ello se celebró con un despliegue de fuegos artificiales que, al apagarse, dejó a la luz las carencias. (…) La creación contemporánea fue desatendida, y no sólo la creación contemporánea, sinola producción escénica con voluntad artística y el mercado (es decir, el mercado de las subvenciones y los contratos públicos) fue poco a poco devorado por iniciativas comerciales, entre ellas las de empresas como Anexa, Focus, Pentación o Calendas”. José Antonio Sánchez, “Génesis y contexto de la creación escénica en España. 1978-2002”. Ningún avance puede darse nunca por sentado: backlash.¿Cuál es la historia de una práctica escénica tan joven como Sobrenatural? En un artículo de Joan Abellán donde repasa brevemente la evolución de Albert Vidal, el autor explica que “uno de sus últimos experimentos [de Vidal] se ha podido ver a través de Internet entrando en el ámbito de la llamada presencia telemática, es decir, acción viva pero para ser observada en la intimidad de la pantalla del ordenador que en España experimenta María de Marías y que aún resulta difícil de clasificar”. A eso podríamos añadir los ensayos que Richard Foreman transmitía en directo por Internet mientras desarrollaba su última pieza en Nueva York, e infinidad de pequeños subgéneros audiovisuales que circulan por la red. Desde sinopsis de piezas,a declaraciones de directores teatrales, pasando por toda una ristra de páginas Web donde la gente muestra su intimidad en directo sin pretensiones artísticas pero con un marcado carácter performático. Aún así, es una historia que está por escribir, en gran medida porque todavía no ha pasado.Según el filósofo Gaston Berger (y padre de Maurice Béjart) “lo posible forma parte de lo real y somos responsables de su advenimiento”. De esta forma, “el futuro no es una simple promesa, sino una tarea que hay que cumplir”.
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No Fixed Points in Space: Transferring Form, Time, and Narrative between Architecture and Performance Date: January 26, 2010 from 6:30 pm to 8:30 pm EST Location: Columbia University Morningside Campus Miller Theatre: 2960 Broadway at 116th Street Contact: For further information regarding this event, please contact School of the Arts by sending email to . Moderated and curated by architect Annie K. Kwon, No Fixed Points in Space will include a panel discussion with distinguished voices from both fields to explore the relationship between architecture and performance, focusing in particular on the notions of multiple perspectives and spatial plasticity. Panelists include: * Trevor Carlson, Executive Director, Cunningham Dance Foundation; * Michelle Fornabai, Principal, Ambo Infra Design; * Paul Kaiser, digital artist, Open Ended Group; * Paul Miller (aka DJ Spooky), artist; composer; writer * Tere O'Connor, Artistic Director, Tere O'Connor Dance; and * Bernard Tschumi, Principal, Bernard Tschumi Architects
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Visualizing Dance Archives is a research and development project aimed at creating a 3D animation software for dance and choreography.The goal of this project is to develop a new unique software, which provides the possibility to access historic static sources and to translate their referentiality into visuality, thus revealing its motoric and kinetic aspects. The new computer application will aid research in reconstructing dance by creating animated movement sequences. It will allow to transfer movement content from a variety of sources into a visual, three-dimensional representation. The researcher will be given a great amount of flexibility, offering a wide range of possibilities and choices to connect visualized body postures to movement phrases.


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Informations according residencies for the first half of 2010:Download | PDF 0.2MB1 February 2010 (post-marked) is the closing date for applications for residencies for the second half of 2010 (August until December 2010).The program Tanzplan Potsdam: Artists-in-Residence offers international choreographers the opportunity of several weeks work residencies in the fabrik Potsdam.Proposals for research-oriented residencies from the fields of dance and choreography that would include collaborations between different artists, theorists as well as experts from other disciplines or which formulate an interest in such dialogues in the framework of a concrete research process will be particularly supported.The residencies provide, where appropriate, a rehearsal studio at your sole disposal. Accommodation is provided at no cost in guest rooms at fabrik or in a guest flat in the centre of Potsdam. Residents receive a scholarship between € 300,- and € 375,- per week per person (if the residency includes not more than 4 participants). Residencies are possible between 2-10 weeks maximum.Furthermore, Tanzplan Potsdam covers the costs for the one-time round trip to Potsdam and can partly cover material-/production costs. Individual guidance during the residency is possible and can include the research and distribution of contacts and possible dialogue partners as well as organizational, technical and artistic advice.Applications should include a residency proposal and information about work to date. Postal submissions only to:fabrik PotsdamTanzplan Potsdam: Artists-in-ResidenceSchiffbauergasse 10, PF 600607, 14406 Potsdam, GermanyApplications accepted in English or German.Applications postmarked after the deadline will not be accepted.All complete applications will be considered and replied to in writing (by e-mail). Residents are selected by a panel. Please note that we can unfortunately not return your application material to you.Contact: fabrik Potsdam, Ulrike MelzwigTel. +49 (0)331 2800314, e-mail:
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This survey is designed for artists of all levels of experience. Even if you have not done much pertaining to Media Marketing, Film, or Video, we ask that you participate in this survey, so we can learn more about you.Take the survey, by visiting our blog, MovetheFrame. Survey will Help us Learn More About the Following Areas:Media Marketing: What do dancers need to improve self promotion through media to increase audience numbers for live performances? We want to learn who needs assistance with improving websites, search engine marketing, online press releases, and social networking.Dance for Camera Production: Which artists want to produce dance for camera (films and videodances)? Who needs education on the basics of film making to produce work? What kind of film would you like to create? How can we help you get started?Promotional Video Production: Which artists need assistance with moving through all of the stages of video production for promotional videos or for instructional dance videos? Who needs help with planning, strategizing, editing, and distribution to guarantee that these videos are seen by large audiences?We thank you for your participation!
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