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Partnerships with



This is an introduction to the possibilities of collaboration between and you: individual and organization.


A partner or ENABLER is an individual or organization that is committed to investigate the potential of all the online platforms for audience development, strategic communicatio and knowledge distribution/exchange. was created by Marlon Barrios Solano (Visit producer’s page) in October 2007 and has evolved to be one of the most important global social networks dedicated to the innovation on the performance of movement, providing its community with an free online destination with rich multimedia capabilities and a collaborative network of on-line video channels. also produces the following online video programs and series complete performances online:

-dance-tech@ a series of interviews (more than 200  interviews to date)

-Choreography or ELSE: Contemporary Experiments on the Performance of Motion (launched January 2011)

-TECHNE: body+motion+computation (to be launched in September 2011) receives an average of 2000 page visits a day and has more than 3500 active members.

These are guidelines that define a partnership; adjustments are realized in agreements based on the specific conditions and needs of the organizations, individulas and relevant projects.

Benefits for the partner on


1-Possibility to send e-blast the whole community.

2-Placement of linked logo or branded space in:

  •  Right sidebar with other partners (impressions in all the pages)  
  • dance-techTV and dance-techTVLIVE pages and in all the on-line series.

3- Priority coverage of partner’s events as part of the dance-tech@ interview series when relevant to the community and feasible with the distributed network of correspondents.

4-Placement of 30 seconds video in the dance-techTV channel (video provided by the partner)

5.-A preferential fee for all the collaborative Journalism projects such as: WorldGridLab and Embedded Vlogger. and all its projects are managed as part of the organization Dance-tech Interactive LLC based in New York City.




-Pay a suggested contribution of  150$  PER MONTH or once.

-Open an account in and  use its platforms as part of their audience development and communication strategies.

The partner’s contribution will be dedicated to support: 

NODES: A network of international correspondents in main artistic hubs around the world.







4 interviews per month= 600$


Started in February 2011





Read more… The social networking platform and community


2.-dance-tech.TV: collaborative network and broadcasting (curated content)

3.-Media productions

4.-Curated series

5.-Collaborative projects and knowhow

6.- Support dance-tech projects



All projects are under the administration

and authorship of dance-tech Interactive LLC

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Toynbee Studios, London
13 Nov - 14 Nov 2010, 11am - 5pm

Venue Information:

Simon Vincenzi’s Weekender will explore the “act of translation” as part of his ongoing research project Operation Infinity. This will be through an investigation into how the performer can act as a body of translation and how different states of being ‘held’ can happen whilst translating.

The lab will focus on physical acts of seeing, speaking and listening and how different texts can inhabit the body of a performer. Questions that might arise during the Weekender include “how can the body be abandoned to the physicality of understanding?” and “what might physical ventriloquism be?”

This Weekender is intended for all practicing artists from any discipline, from emerging artists at the beginning of their career to those more highly experienced.


Simon Vincenzi’s work pushes the boundaries of expectations of theatre and the audience’s relationship to the act of presentation. His work is about producing a threshold of uncertainty:

between what has already happened and what is happening now
between what has been perceived and what has been stimulated
between what is seen and what can’t be seen
between what is heard and what might be heard

Memory, communication, time, the divided self, consciousness, death and disappearance are recurring themes that develop uncanny, evocative and intensely visceral stage worlds. He frequently develops work through rigorous and intensive periods of research in which the context plays an important role in shaping what is generated. This lab weekend is a unique opportunity to develop your own practice using methods facilitated by Simon, whilst joining him in his own practice-based research.

Simon Vincenzi is… a radical theatre visionary.
Time Out

Operation Infinity is the title of a body of work that has stemmed from a previous Bock & Vincenzi piece The Infinite Pleasures of the Great Unknown, where six performers played the parts of thousands as the fictional “Troupe Mabuse”. Inspired by two fictional characters – Fritz Lang’s Dr. Mabuse and Shakespeare’s King Lear – the piece follows a never-ending choreography of chaos, possibility and prophecy. Operation Infinity draws on these themes and aims to reconfigure different performances in the same physical space, allowing an audience to use different forms of theatrical interpretation. With the Artsadmin Weekender Simon wishes to explore how the act of translation can affect such relationships with the audience also.

Simon Vincenzi is a London-based theatre director, choreographer and designer who has created a huge body of work over the past 15 years. Prior to Bock & Vincezi he created the ensemble performance piece Heartless. Then, in 1995 he joined Frank Bock to form Bock & Vincenzi. During their 13-year partnership the duo made works for both adult and children audiences that include Three Forest Dances In A Room Of Wood, Being Barely There I Saw You Too and Breathtaking. In 1999 Bock & Vincenzi began a seven-year research period culminating in The Invisible Dances (2004-2006); a theatre work in three acts presented over three years. During this collaboration Bock & Vincenzi worked with over 50 specialists including both sighted and visually impaired performers, dancers and actors; artists with physical disabilities, sound and video artists, computer programmers, philosophers, poets, writers, a phenomenologist and a spirit medium.

Works made for Simon’s evolving project Operation Infinity include: The Infinite Pleasures of the Great Unknown, Club Extinction and Luxuriant.

As the piece ends in roaring darkness, it’s as if we finally join [the performers]. And you’d be amazed at just what a blast that is.
The Observer, on As If They Hadn’t Been, As If they Had Not (2005)

Image by Bock & Vincenzi, Venice Theatre Biennale 2005, photo by Andy McGregor.

More Info:
Artsadmin Weekenders: Simon Vincenzi
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JUNE 2011 (Event Dates TBA), Los Angeles, CA

Early Deadline: December 15, 2010 ($50 fee; $40 for Members; $25 for Students)
Final Deadline: January 15, 2011 ($60 fee; $50 for Members; $25 for Students)

Celebrating the 10th Anniversary of the Dance Camera West Dance Media Film Festival, our call for entries welcomes dance media in any dance style or genre. Categories include: screendance, movement based film, short films, features, documentary, installations, and interactive dance media. The 2011 festival will feature Dance Media: An Active Spectrum, an international dance media conference bringing together artists, innovators, educators and entertainment industry professionals to engage in the increasingly active spectrum of dance media on screen. Dance Camera West's June 2011 Tenth Anniversary festival events will include an international selection of dance media and special screening events at prominent Los Angeles venues. We look forward to seeing your new work!

Entry forms and guidelines available at:
Please direct questions to:

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Susan Kozel combines dance and philosophy in the context of new media. She works with bodies, ideas and technologies. She has a PhD in Philosophy from the University of Essex, UK, and a long history of various movement techniques (from ballet to butoh). She is an internationally recognized and distinguished researcher. Susan has recently started a permanent position as a Professor of New Media at MEDEA, Malmö University.

MEDEA Talks presents: “Social Choreographies”

Friday, October 29 15:00-17:00

Place: MEDEA, Ö Varvsg. 11 A

Limited availability, sign up using the form below

Susan Kozel’s Medea talk will be about dance and social media. “Social Choreographies” is a research initiative but is also a way of looking at the urban world: seeing how we already ‘dance’ with our technologies and how, if we feel like it, can enhance the embodied quality of our mobile lives. She will talk about the IntuiTweet project that uses Twitter to access and exchange movement intuition. Can a social networking platform also be a way to enhance the performance of every day lives? Do Social Choreographies result? She will also talk about a few earlier projects that integrated bodies with sensing technologies.

Moderator: Tanja Mangalanayagam, Project Manager at Skånes Dansteater

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CITYRAMA in Torino, Italy and Bern Switzerland November 2010

CITYRAMA is a new performance created by Caden Manson / Big Art Group in collaboration with the students of HKB and the Teatro Stabile of Torino. CITYRAMA comprises a site-based theatrical and video installation that functions as a performance machine, asking the actor/participant to respond on stage to a flood of stimuli and make split-second responses in the context of a fragmented live movie. Multi-threaded stories, overlapping emotions, and conceptual actions that call attention to the physical occupation of the space combine into a portrait of the living city, of the city as a chimera created of voids and images, human stories and architectural constraints. In the interplay between occupation and transformation, CITYRAMA revels in the struggles of the ordinary hero to create her own world.

Castello di Rivoli / Prospettiva/ Teatro Stabile Torino (Italy)
Torino, IT
November 14, 2010 T 8:30pm

Bern University of the Arts (BAUS)
Bern, Switzerland
November 18, 29, 20, 2010

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Computer games as a new form of art and entertainment are now firmly established worldwide. Interdisciplinary collaboration between scriptwriters, animators, composers and designers is essential to the creation of new game worlds. The Fantoche International Animation Film Festival, the Swiss Arts Council Pro Helvetia, the Federal Office of Culture and the SUISA Foundation for Music initiated their «Call for Projects: Swiss Games» with the aim of promoting the creation of Swiss computer games of a high artistic standard. Grants will be provided as an incentive to up-and-coming Swiss game developers to produce daring innovative game concepts, to narrate interactive stories and to open the door to new visual worlds.

A credit line of CHF 300,000 has been opened in 2011 for the first round of grants. There will be a maximum grant of CHF 50,000 per project. The adjudication will be performed by an international jury chaired by Guillaume de Fondaumière, who has produced games such as «Fahrenheit» and «Heavy Rain» at French video game developer Quantic Dream. The selected entries will be presented at the Fantoche International Animation Film Festival in Baden in September 2011. Additionally, the SUISA Foundation for Music will award a prize of CHF 15,000 for the best original sound composition.

The jury’s criteria

The «Call for Projects: Swiss Games» is open only to developers in or from Switzerland. A playable prototype must be submitted no later than March 2011. Entries will be judged according to the following criteria: gameplay (the mechanics of the game), scenario (storytelling), visuals (aesthetics), music and sound design, technical innovation and interactivity. Overall impression and the interplay of the various components will also be taken into account.

Further information on how to apply will be provided on the Fantoche website as of 15 November 2010:

Further details of Pro Helvetia’s two-year programme «GameCulture – From Game to Art», which is launched at the same time as the «Call for Projects: Swiss Games», are provided

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The 11th Consciousness Reframed International Research Conference,
November 4 – 6, 2010, Trondheim.

3 days – 20 nations – 65 speakers!

On behalf of TEKS and The Planetary Collegium:

In cooperation with the Planetary Collegium, at the University of Plymouth, England, TEKS – Trondheim Electronic Arts Centre, is hosting the 11th Consciousness Reframed International Research Conference, with the title of ‘MAKING REALITY REALLY REAL‘.

The Consciousness Reframed conference series was founded by Roy Ascott at the University of Wales in 1997. Consciousness Reframed is a forum for trans-disciplinary inquiry into art, science, technology, design and consciousness, drawing upon the expertise and insights of artists, designers, architects, performers, musicians, writers, scientists, and scholars, usually from at least 20 countries.

From November 4 – 6, 2010, the conference is being held in Trondheim, Norway, in conjunction with the new biennial for arts and technology ‘Meta.Morf 2010 – New.Brave.World!

Making Reality Really Real

"The status of our reality is uncertain. The solid objective world of our everyday experience is a representation of an oscillating immateriality that we recognise, at another level of resolution, as constituting quantum phenomena. It’s not that matter doesn’t matter anymore, so much perhaps as the idea that matter isn’t matter anymore. Can we not reasonably ask whether there is a reality beyond what quantum mechanics describes, even closer to the really real? If our material, everyday world depends on our consciousness, what existed in the world before human consciousness had evolved, and how will the world look if our consciousness evolves still further? For many who live largely online, cyberspace accommodates a vivid and consequential normality that renders the material world less relevant to their lives. Until recently, we adapted our sensibilities to fit into separate boxes, variously identified as real, virtual, spiritual, and so on, which we saw as being served by separate ontologies. That separation has now merged into a flowing continuity, in which telecommunications, computing, nano technology, bioengineering and pharmacology play significant roles. The binary opposition between real and virtual realities no longer holds, and the Western conception of the individual human brain creating its own isolated mind may be giving way to the recognition of a connected intelligence seeking fuller access to a primordial field of universal consciousness. What might be the role of the artist in all of this? Can a trans-disciplinary art practice contribute to strategies for making the real really real?"

These issues form the background to a conference of artists, scholars, scientists, and engineers that will constitute the 11th Annual International Research Conference, "Consciousness Reframed: art and consciousness in the post-biological era", convened by Espen Gangvik of the Trondheim Electronic Arts Centre, and co-directed by Roy Ascott, president of the Planetary Collegium. Previously the conference has taken place in Australia, Austria, China, Germany, and the United Kingdom.

The Consciousness Reframed conference is being held in Trondheim, Norway, in conjunction with the new biennial for arts and technology ‘Meta.Morf 2010 – New.Brave.World!‘



Thursday Nov. 4

- 0900-0915 Gangvik: Welcome/Logistics | Ascott: Context/Theme
- 0945-1015 Oliveira: On the Blue of the Sea: Real Virtualities & Virtual Realities
- 1030-1100 Geraldo: Cyberflaneur: Between the Virtual and the Real Worlds
- 1115-1145 Balkan: A Cosmological OS - The World Beyond Time
- 1200-1230 Ayiter (Guest Speaker): Constructing Transformations: Creative Learning in a Metaverse
- 1245-1315 Meinhardt: Digital Natives - Is there an Internet-generation?

- 1400-1445 Bischof: Keynote
- 1500-1530 Lubjec: Rethinking the Reality Source Code
- 1545-1615 Kazemzade: Visibly Invisible: Spukhafte Fernwirkung, Mechano-Moist
- 1630-1700 Westermann: Towards a Poly-Valued Logic of Another Real Dream
- 1715-1745 Ascott: Accelerated Alchemy

- 0930-1000 Jung A Huh: Real Buddha vs Virtual Buddha
- 1005-1035 Zamanzadeh: Presence of Reality and the Eternal in Iranian Manuscript
- 1050-1120 Nelson: Toward a Cybernetic Ontology of Thingyness
- 1135-1205 Karoussos: St. Anna's Boolean Garden
- 1220-1250 Babasikas: On Ghost Images

- 1520-1550 Yuan Juliette: Mixed Reality and Online Life in China
- 1605-1635 Beloff: Wearable Worlds; Reality in a Pocket
- 1650-1720 Aldouby: Virtual Reality Turns Biological: Cronenberg's eXistenZ
- 1735-1805 Ribeiro: Spaceless Spaces: from Impression to Imagination
- 1830-1915 Gimzewski: Keynote: Interfacial Intelligence

Friday Nov. 5

- 0900-0930 Cetkovic: Use of Technology to Create a View
- 0945-1015 Ikegami/Ruggero: Social and Political Activism in Second Life
- 1030-1100 Capucci: The Sensible Reality Between Obviousness and Uncertainty
- 1115-1145 Rennie: Real-eye-ising the Miniature
- 1200-1230 Jahrmann (Guest Speaker): Chindogus as Erotic Toys: Pleasure, Play, and Consciousness Beyond Materialism

- 1400-1445 Luna: Keynote
- 1500-1530 Artifist: Neurospace Consciousness
- 1545-1615 Fragoso: Art, Technology and Native Traditional Cultures
- 1630-1700 Simeone: Crossing the Boundaries of Sacred Worlds
- 1715-1745 Slattery (Guest Speaker): Ecstatic Significations: Psychedelics, Language, and Realities

- 0920-0950 Payne: The Invocation of our Polyrhytmic Reality
- 1005-1035 Grant: Noise: Networks, Sensation, Experience
- 1050-1120 Girão: Intregative Art - The Wonders of Bioelectromagnetic Modulation
- 1135-1205 Tresilian: Making Reality More Real; The Human Starling
- 1220-1250 Phillips: Really? The Incomprehensible Truth

- 1520-1550 Andrasiunas: Formalisation of Language and Artistic Code
- 1605-1635 Gabriel: Mobile Tagging as Tool for Mixed Realities
- 1650-1720 Nardelli: A Software Based Installation to Assist Self-Reflection
- 1735-1805 Andreea: Agenda for an Innovative Assessment Technique
- 1830-1915 Vesna: Keynote

- 0910-0940 Albuquerque: Art as Knowledge: Internet Art
- 0955-1025 Fielder/Kessler: The Text That Reads Wolf
- 1040-1110 Gwilt: Compumorphic Art - The Computer as Muse
- 1125-1155 Plank: The Cognitive User of Architecture
- 1210-1240 Fu/Sim: Viewership of Online Peer-Shared Content

Saturday Nov. 6

- 0900-0945 Malina: Keynote
- 1000-1030 Earhar: The Cloudy Self and the Evolution of Consciousness
- 1045-1115 Aguilera: An Evolving Thought
- 1130-1200 Cox: Over-identifying with Really Existing Social Media
- 1215-1245 Lancaster: The Real Dirt on Soil and Location

- 1400-1445 Nakatsu: Keynote
- 1500-1530 Anker: On Light - and the Flux of Informative Events in Nature and Technologies
- 1545-1615 Harrison: Real-ising the Virtual
- 1630-1700 Suvajdzic: Cultural Roles and Identity - An Interactive Upgrade
- 1715-1745 Sermon: Liberate your Avatar: The Revolution will be Social

- 1005-1035 Jacques: Can You Catch My Drift? The Potential of Information in Developing Consciousness
- 1050-1120 Sebring: Picture Pathways as Threads through the Levels of Reality
- 1135-1205 LaRocca: Mnemonic Narratives: The Miniature
- 1220-1250 Anders (Guest Speaker): Transcribing the Impossible

- 1520-1550 Kanary: Hallucinations, an Existential Crisis?
- 1605-1635 Ryu: Ritual Objects: Parting on Z
- 1650-1720 Schleiner: divination 2.0
- 1735-1805 Heinrich: Constructing Realities Through Times
- 1815-1900 Gangvik/Ascott: Closing Session




Conference Participants:
- NOK 1600/ Euro 200,-

Students and Forum Nidrosiae members*:
- Option 1)
NOK 400/ Euro 50,- includes all registration entitlements (see below)
- Option 2)
NOK 10 / Euro 1,- donation: FREE conference pass! (NB! NO freebies, NO seating prioritization!)


Conference Participants:
- NOK 640/ Euro 80,-

Students and Forum Nidrosiae members*:
- NOK 180/ Euro 22,- :


All full-paying delegates are entitled to:
- Admission to all Public Lectures and Panels
- Conference kit including all publications, information on the conference
- Refreshments during the conference

* Student ID or Nidrosiae membership card required for registration



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"Do the Digital"

Follow link below to YouTube Video

UCR does "The Digital"-New Dance Moves

-Cool challenge to anybody: "do an original move"
-Funny to watch folks freestyle to their song:)

I wonder...
my own 'digital dance' = lots of finger movement isolations
...but what's a more full-bodied example of 'digital dance'?
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Matthew Prest draws on installation and performance art to create work. His practice is multi-disciplined and the form shifts from project to project. At the heart of his work is the question of what is the experience for the audience, creating a world in which the audience's senses are heightened.


© Jorge de Araujo

He works in collaboration with a group of artists, with a cross over between roles and disciplines. Previous collaborators include: Clare Britton, Danny Egger, James Brown, Hallie Shellam, Janie Gibson, Eddie Sharp, Halcyon Macleod.


Hole in the Wall with Clare Britton 2010
The Tent 2008

The Riot Act (Karen Therese) 2009
Africa (My Darling Patricia) 2009

See Video and Read More -->

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Peridance Capezio Center's Certificate Program

Have you heard about Peridance Capezio Center’s newCertificate Program? It is a two-year training program designed for serious dance students 17-28 years old, looking to invest 2 years into an intensive quality training program. Students have daily interaction with top dance instructors and choreographers. The program is currently auditioning for the Spring Semester beginning January 31st.

For more information visit the website:

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Salón del taller de Butoh. Denise Fujiwara está al fondo, detrás del piano. (octubre, 2010)

3er día. 14 de octubre de 2010.

Un erorme moretón en mi rodilla izquierda, una raspadura en el mismo lugar y dolor en la espalda baja son los recuerdos físicos de las dos sesiones anteriores; yo esperaba ampollas en los pies pero no recordaba que son comúnes los dolores por pequeños golpes y como consecuencia del continuo contacto con el suelo. Todo tiene su precio.

Taijiqigong, desplazamientos, énfasis en la interacción con el compañero (¡eso refrescó el entrenamiento!) y desequilibrios, uso y aprovechamiento del desbalance y fluidez en el desplazamiento, y nuevamente el centro en la cadera y los hilos que la tensan y la dirigen... Recuérdenmelo, ¿estaba yo en un curso con el Odin Teatret?

Parte del entrenamiento básico es caminar entrando en contacto con el suelo, con suavidad y en una gran lentitud; es un ejercicio que Denise nos dice lo toma del entrenamiento del teatro No japonés, donde la caminata es invisible. Este tipo de caminata no me ha sido extraña en absoluto, la aprendí durante el tiempo que viví en China, primero en el Taijiquan, que tiene un ejercicio similar base, y después en la meditación Chang (el zen de China), que la usa para mantener la meditación por el contacto con el cuerpo en movimiento. He experimentado el teatro No como espectador y esa caminata de verdad no se percibe desde el público, es el desplazamiento del actor el que se percibe; los pies son invisibles hasta que el actor mismo los utiliza como foco de alguna acción. Un trabajo árduo para hacerlo tangible, aún habiéndolo aprendido en otras técnicas.

Aquí un recuerdo de desplazamientos de un escena de Teatro Noh que grabé en Kioto en 2006:

Vinieron entonces los nuevos ejercicios con un objetivo muy claro, entrar en contacto con suelo. Primero el contacto debía de darse con la piel y después con los músculos y finalmente con los huesos (¿debo recordar que tenía dolores casi todo el tiempo?). Aún cuando era posible la interacción con los otros, las primeras fases del ejercicio fueron muy personales, pero a partir de que entramos a los huesos, la idea era seguirse desplazando y sumarse al posible contacto con el otro. Mi cadera se reencontraba con todos, había atracción y rechazo, mi cuerpo giraba y en momento se golpeaba, se rozaba con el cuerpo del otro; una vez, sólo una, entre en un hermoso juego con una compañera en donde nuestras miradas no se separaron por unos dos o tres minutos, pero nuestros cuerpos se desplazaban, caían, giraban.

Denise interrumpió por segundos para pedir que usáramos más el suelo y que cayéramos y nos levantáramos buscando la fluidez y la suavidad en la caída aún cuando hubiera alta velocidad. Sufriendo físicamente (de verdad, era doloroso) entré al juego con esa circulación que me hacía caer y levantarme, girar por el suelo y saltar, un juego que hace años me hizo vibrar creativamente con el training grotowskiano.

Vino la pausa teórica y eso nos dió un respiro; muchos comentarios salieron a flote, sobre la interacción, sobre el no coreografiar o el no personificar, sobre cómo ser un elemento y no dejarse ir por la repetición misma de nuestros movimientos. Denise habla de la inexistente repetición, de una siempre novedad aún en la forma misma: el Butoh tiene una forma, una forma que viste el espectáculo, una forma que le da forma, pero esa forma es un proceso, nunca es una premisa de trabajo. Nosotros estábamos aprendiendo esa forma con el proceso del taller, con el "embodiment" de los elementos.

Casi sin mayor préambulo vino un ejercicio (que me pareció mucho más largo que los anteriores), sobre los estados del elemento Agua. Y como ayer hablé de Kazuo Ohno como agua de estanque, su imagen estaba conmigo; sabía que era un tanto peligroso (por aquello de la imitación), y me dediqué a sentirme inspirado por esa imagen y soltarla, dejarla ir y dedicarme a ser el estanque.

Los estados del agua se sucedían uno a otro con rapidez, y las imágenes volaban en mi cabeza. El ruido de los otros trabajando era mucho mayor que las otras dos ocasiones; ruidos de pasos, de azotones, de manazos, de sonidos guturales, pero no había desconcentración. Estos ejercicios de corporeizar un estado de algún elemento nos permiten una total concentración, entre otras cosas porque son muy disfrutables, es agradable realizarlos. No hay mayor compromiso que dejarse ir por el estado del elemento, no movimiento específico, no estructura definida, sólo exploración, juego, observación del dejarlo correr, ¿por qué alguien habría de desconcentrarse?

Mis dos preferidos estados del agua fueron el agua de un jarrón al que le meten flores y la llegada de un agua de tubería a un estanque.

Esta vez Denise nos pidió repetirlos tres veces. El mayor peligro radicaba en comenzar a establecer una coreografía de movimientos y reconocer trucos o clicks para lograr el estado que requeríamos repetir, pues en realidad no estábamos repitiendo el estado si no ilustrándolo. ¿Cuál es la solución? Según Denise, sólo la práctica, y yo ahora también lo creo. Una imposición clara de lo que no queremos que sea o se haga, y una liberación para que el "ser" sea y se dé, así sin más.

Por primera vez haríamos uso de la música con la conciencia del ejercicio de la sesión pasada: usarla y dejarnos ir con ella o rechazarla y crear nuestro propio ritmo y melodía a partir de lo que hace el elemento.

Sí, hay una contradicción entre ser el elemento y el dejar serlo en la escena, pero también saber usar la música o rechazarla, y aún más, durante la presentación de los estados, entrar a escena y hacer diferencia entre cada uno de los dos estados, y hoy añadir la interacción. Ante las preguntas y la confusión, Denise trató de explicar lo que quería para la presentación final de la sesión, explicaba la pequeña estructura: -"uno entra al centro, mira a público y comienza..."-, y en algún momento calla y dice, y bueno, hagan eso y vean cómo le hacen, descúbranlo.

Esto es un juego de contradicciones donde la razón pierde, como aquellas sesiones donde Kazuo Ohno hablaba a su grupo sobre danzar con sus antepasados, sí, estaban todos en él, pero él sabía con cuál quería bailar y con cuál no. Será por eso que el Butoh es un arte, y no un camino místico o una religión.

La presentación fue formidable, la música que escogió Denise era verdaderamente poderosa y por primera vez descubrimos la interacción de nuestros estados. Hubo una especie de ensayo (nosotros no lo sabíamos como tal) y después comentarios pidiéndonos Denise consejos para hacer más poderoso el trabajo, ideas para fortalecer el espectáculo que se estaba dando: se habló entonces de interrelación, de transiciones claras para lograr los estados y de descubrir momentos para saber cuándo entrar a la escena.

De casualidad una compañera entró tan tarde a escena que cuando comenzó estaba sola, pero la carga de todos los trabajos anteriores le dieron un marco ideal, sus movimientos adquirieron una dimensión mayor a la cotidiana (¡claro!), y al final nos dimos todos un aplauso, pero ella se mereció un abrazo de Denise porque de alguna manera supo "cargar" con todo aquello que habíamos dejado los demás.

Sí, no hay mucho espacio para los razonamientos en los procesos del Butoh, de verdad, no lo hay. Pero también debo decirlo, no creo que hagan ninguna falta.

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CYNETART 2010 Videoteaser #1 from Trans-Media-Akademie Hellerau on Vimeo.

CYNETART is an international festival for computer-aided art in Dresden.
The festival has been the focal point of the research at
Trans-Media-Akademie (TMA) Hellerau for 14 years now. This work has made
the festival become a countrywide and internationally recognised
platform of digital culture – providing an in-depth overview of current
developments of technology-based art.

Since the foundation in 1997 CYNETART has accomplished a lively mix of
creative programmers, skilful engineers and innovative sound technicians
and media artists from all over the world. With their original ideas
they come together in November every year. The event presents current
trends in the artistic contention about and application of computer and
network technologies.

Every two years the festival is accompanied by the international
CYNETART competition. With a total prize money of 28.400 Euro it ranks
among Europe’s top awards in the area of media art. An international
expert jury chooses the winners of the CYNETART-award from more than 300
submissions and 30 countries. It also awards a sponsorship prize and an
artist-in-residence-scholarship funded by the Saxon State Ministry of
Science and Art.

CYNETART is a dynamic and energy-driven festival which thrives on the
variety of its international artists and visitors. It features the
captivating architecture of the exceptional and authentic venue, namely
the festival theatre Hellerau and a program rich in contrast. The latter
includes performances, exhibitions, lectures and workshops as well as
electronic live-concerts – altogether an exciting panorama.

The upcoming 14th international festival for computer-aided art will
open on 11th November 2010 with the awards ceremony for the CYNETART
competition 2010. On seven event days the 14th edition of the event is
going to present an exhibition with the prize-winning works and selected
competition entries, first-class performances and an evening program
including live sets with international electronic musicians and VJs.

Thursday, 11th November 2010 | OPENING CYNETART 2010

8 pm
Opening CYNETART 2010 with CYNETART award ceremony (( Great Hall ))

9 pm
CYNETART-Lounge: Get-Together | Receiving with Kali Avaaz
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))
JUNGEN FREUNDE der Staatlichen Kunstsammlungen visiting CYNETART 2010 (( Foyer ))

Opening CYNETART exhibition

presented works:

’ ! ’ | Sound Sculpture by Anke Eckardt
Transducers | Modular System by Verena Friedrich
Post Mortem | Installation by Jannis Kreft
MoshPit Amp | Metal Head Orgasmotrom by fur////
[oszo 34]TM | Installation by Ritchie Riediger
WOP POW | Crash Color Bullit Chic by feat. Annabe
LAG | Installation by Ulf Langheinrich
Default to Public | Tweetscreen by Jens Wunderling
Art Zeppelin | Virtual Exhibition by Igor Sovilj
Mirror | interactive, net-linked installation
Radical ATM Service | Installation by Iván Kozenitzky and Frederico Lazcano
Frühstück | Installation by DoppeldenkTM

9 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

10 pm
undsonstso | creative comments (( Great Hall ))

CYNETART suggests: Altes Wettbüro

Friday, 12th November 2010 | Automatic Clubbing Night I

3 pm - midnight
CYNETART exhibition

5 to 7 pm
CYNETART-Lounge: Meet the CYNETARTist – artist talk

8 pm - 10 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

8 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

9 pm
Zerkalo (Victoria Lukas & Marie Athénaïs) (FR) (( Great Hall ))

10 pm
Annie Hall (Live) (ES) (( Great Hall ))

11 pm
Minimal Wave Showcase with Veronica Vasicka & Traxx (Jak-Nation) (( Great Hall ))
Traxx Playing LIVE**(special engagement)** and wax

Saturday, 13th November 2010 | Automatic Clubbing Night II

3 pm to midnight
CYNETART- exhibition

3 pm
Utopia Attraktor-Workshop I: Utopia and participation

8-10 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

8 - 10 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

10 pm
Uncanny Valley Showcase with Uncanny Heroes by Jacob Korn & intolight (( Great Hall ))

CYNETART suggests Altes Wettbüro

Sunday, 14th November 2010

11 am - 6 pm
CYNETART exhibition

11 am - 6 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

4 - 6 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

3 pm
Utopia Attraktor-Workshop II: utopia and participation
with: lizvlx
Partizipationsformat: EEG

7 pm
RiP: A Remix Manifesto | film by Brett Gaylor (( Kunsthaus Dresden ))

Tuesday, 16th November 2010

6 - midnight
CYNETART exhibition

6-8 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

8 - 10 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

9 pm
Particle | AV performance by Dfuse (( Great Hall ))

10.30 pm
DRIFT | movie by Ulf Langheinrich (( Great Hall ))

Wednesday, 17th November 2010

11 am - 10 pm
CYNETART exhibition

6-8 pm
Cycloïd-E | Sound Sculpture by Cod.Act (( Great Hall ))

4-6 pm
Sensitive to Pleasure | installation performance by Sonia Cillari (( Studio Ost ))

8 pm
López Immersive Sound | Concert by Francisco López (( Great Hall ))


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Jean-Baptiste Veyret-Logerias has been practicing singing since he was 10 years old, as well as choir leading for many years. In 2003 he was part of the vocal ensemble conducted by Pierre Calmelet which won the silver medal at the national competition of the Florilège Vocal de Tours International Choral Competition (FR).

He started dancing when he was studying linguistics at the university in 2000. In 2005 he became one of the first students of the new ‘Essais’ programme at the CNDC in Angers (FR) / artistic director Emmanuelle Huynh, where he was invited to develop his own ideas on movement and staging. In that frame he was an interpreter in many projects, such as My Country Music by Deborah Hay, of which he made a solo adaptation : acclimatation. He also started developing his own research and made chambre son, a choreographic and vocal piece for an a capella choir. During this course, he was also invited to give singing workshops to the students of the two-year training programme for professional dancers.

© ramona poenaru

After finishing his formation in Angers in 2006, he kept developing his work. He made a performance on breathing with vacuum cleaners, inspiratoire/aspiratoire, and kept searching on choirs in movement with a choir of dancers-breathers, breathing choir, in Porto (PT), and a choir of children dancers-singers, Singing with Nicaoax, in Oaxaca (MX) in the framework of the international forum “Prisma”. Moreover he was part of collective works, such as Tout Court, on invitation by Tommy Noonan at Stadttheater in Freiburg (DE), and Five people at Campo in Ghent (BE) on invitation by Dirk Pauwels.


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Dance-techTVLIVE serves the community with a collaborative online video channel.

It is managed by the same community of users.

If interested join to the dance-techTVlive co-producers group

This channel is ONLY for LIVE broadcasts and has Playlist with captured past transmissions.


Watch live streaming video from dancetechttvlive at




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¿cómo cuenta un cuerpo?
¿de qué hablamos cuándo hablamos de composición física?
¿que premisas/ paradigmas/problemas/ preguntas están en juego en el Arte contemporáneo hoy día?
¿cómo y desde dónde dialoga la danza con ellas?
¿porqué la danza teatro NO es la suma de danza + teatro en el sentido literal de cada una de esas palabras?

Destinado a estudiantes de danza, teatro, músicos, cantantes y artistas de cualquier disciplina interesados en iniciarse en el lenguaje compositivo de la danza teatro o con deseos de profundizar en él.

Algunos objetivos:

Entrenar desde un cuerpo consciente, perceptivo y despierto elementos técnicos y compositivos propios de la danza teatro como género a saber:

la danza como acción física,

el cuerpo en estado de danza,

la danza con lo que ya hay:

cuerpo, espacio, tiempo, arquitectura,

la sensorialidad y la escucha como fundamentos del trabajo,

improvisación y composición,

dramaturgismo en danza.

3 fechas 1. del 13 al 17 de Diciembre del 19 30 a 21 30

2. del 3 al 7 de Enero de 19 30 a 21 30

3. del 14 al 18 de Febrero de 19 30 a 21 30

Aranceles seminarios en Buenos Aires:

$ 190.- cada seminario (dos seminarios $ 360.-)

Danzar el Hábitat, cuerpo espacio y soporte.

Seminario en Córdoba, Senderos del Monasterio, Valle de Punilla

info completa y detallada en

Vacantes limitadas solo se reserva con seña previa por el 50% del arancel. Podés solicitar el Nº de cuenta por mail o acercarte personalmente a Casa Puán previo concertar una entrevista

al teléfono 011 15 4189 2930

Para ver trabajos previos nuestros podés mirar este mismo blog y también:

Te sugiero leer este artículo:

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dancetechtv on Broadcast Live Free

France, 2006, vidéo, couleur, 37'

Production : Opéra national de Paris / Telmondis

In response to a documentary commission on the Opéra de Paris, Jérôme Bel designed a solo show based on dancer Véronique Doisneau. Doisneau is a «sujet» of the Ballet de l'Opéra de Paris on the verge of retirement. On stage, in short minimalist sequences, she evokes her life inside and outside of the ballet and explains and dances memorable moments of her career. The film, which developed out of this show, insists on the poetry and quality of her movements, definitively defining Véronique Doisneau as (a) character.

Student of the Centre national de danse contemporaine d'Angers from 1984 to 1985, Jérôme Bel danced in France and Italy before becoming Philippe Decouflé's assistant for the ceremonies of the XVIth Olympic Winter Games in Albertville, in 1992. From Nom donné par l'auteur, his first piece in 1994, and The show must go on in 2001, up until the more recent Pichet Klunchun & myself in 2005, Jérôme Bel has been working internationally and shares his time between Paris and Rio de Janeiro. His creation, Véronique Doisneau, opened the season of the Ballet de l'Opéra national de Paris in 2004. The film based on the show was directed with cinematographer Pierre Please, write your responses as comments here.
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