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In Catalan with English subtitles

Marcel-lí Antúnez Roca website

The Draughtsman is an immersion in Marcel·lí's work, life, creative processes and artistic obsessions. The drawing of a large mural and a series of animations build up the fabric of the film, which, narrated in the first person, shows us this artist's own private universe.
The Draughtsman takes a look at contemporary art, from the beginning of the eighties until today, through Marcel·lí's performances and installations.


Format DVcam; 60 minutes

Direction: Marcel.lí Antúnez Roca, Miguel Rubio
Delegated Producer of BNC: Núria Botellé
Delegated Producer of TVC: Jordi Ambrós
Executive producers: Xavier Atance, M. Antúnez

Participants: Maria Roca, M. Antúnez, Rolan Olbeter, Toni Aguilar,
Wergifosse, Sergi Jordà, Christian Konn, Ramón Rey, Piero Steiner,
Aixalà, Alvar Antúnez, Adelaida Antúnez
Director of photography: Alex Gaultier
Music: Alain Wergifosse
Animation: Liliana Fortuny
Head of production: Cecilia Miguel
Script and plot: M. Antúnez in collaboration with Luis Angel Abad

Recording MONDO ANTUNEZ: Jordi Call
Recording Making of AFASIA: Isaac Pierre Racine
Camera: Robert Roig
VTR: Nacho Saladrigas, Ferran Figols
Sound technicians: Marc Soldevila, Albert Royo, Aleix Cuaresma
Voice recording (studio): Flight Studio, Josep Gimenez
Editing Flash: Volker Scarpatetti
Graphic assistants: Merlí Borrel, Yaiza Nicholás
Stage technicians: Oriol Ibañez, Guille Sánchez Blanco, Martí
Make-up: Esmeralda Molero
Titles: Jose Manuel Urós “Aibo”
Online editing: David Sagarra
Online editing supervisor: Olga Vilanova
Accounting: Milos de Lacalle, Antonia Santos
Image Postproduction: Panspermia, Mons SL
Sound MIxer: Redback
Appearance: Tomic Fajdetic, Pamela Martinez, Josepa Olivart, Nuria
Enric Celaya, Sergio Arrospide, Gloria Bueno, Isabel Elorriaga, Raül
Sonia Estevez, Raquel Jimenez, Jordi Creus, Pedro Gutierrez

Produced by Panspermia, Benece Produccions
In co-production with TVC
In collaboration with ICIC -Institut català de les Industries
Culturals- and
Programa Media

This special broadcast is part of the event

The Art of Transformation (Symposium)


El Dibuixant es una inmersión en la obra, la vida y las obsesiones artísticas de Marcel•lí. La realización de un gran mural y una serie de dibujos animados crean el tejido del film que narrado en primera persona, nos muestra el particular universo de este autor.
El Dibuixant supone una mirada al arte contemporáneo desde principios de los años ochenta hasta hoy a través de las performances y las instalaciones de Marcel•lí


Formato Original DVcamp; duración 60 minutos

Dirección: Marcel•lí Antúnez Roca, Miguel Rubio
Producción delegada BNC: Nuria Botellé
Producción delegada TVC: Jordi Ambrós
Producción ejecutiva: Xavier Atance, M.

Participantes: Maria Roca, M. Antúnez, Rolan Olbeter, Toni Aguilar,
Wergifosse, Sergi Jordà, Christian Konn, Ramón Rey, Piero Steiner, J.M.
Alvar Antúnez, Adelaida Antúnez
Director de Fotografía: Alex Gaultier
Música: Alain Wergifosse
Animación: Liliana Fortuny
Guión y argumento: M. Antúnez con la colaboración de Luis Angel Abad

Registro video MONDO ANTUNEZ: Jordi Call
Registro video Making of AFASIA: Isaac Pierre Racine
Jefe de Producción: Cecilia Miguel
Operador de Camera: Robert Roig
VTR: Nacho Saladrigas, Ferran Figols
Técnico de sonido: Marc Soldevila, Albert Royo, Aleix Cuaresma
Grabación Locuciones: Flight Studio, Josep Gimenez
Editor de Flash: Volker Scarpatetti
Asientes Gráficos: Merlí Borrell, Yaiza Nicolás
Maquinistas: Oriol Ibañez, Guille Sánchez Blanco, Martí Jessaneda
Maquillaje: Esmeralda Molero
Titulación: José Manuel Urós “Aibó”
Montaje online: David Sagarra
Supervisor Montaje online: Olga Vilanova
Contabilidad: Milos de Lacalle, Antonia Santos
Postproducción Imagen: Panspermia, Mons SL
Mezcla de Sonido: Redback
Foto Fija: Carles Rodriguez
Figuración: Tomic Fajdetic, Pamela Martínez, Josepa Olivart, Nuria
Enric Celaya, Sergio Arrospide, Gloria Bueno, Isabel Elorriaga, Raül
Sonia Estévez, Raquel Jiménez, Jordi Creus, Pedro Gutierrez, Jon Elorza,
Producción por Panspermia, BNC produccions
En coproducción TVC
Colaboración de ICIC -Institut català d’Industries Culturals- y Programa
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Artist Daan Roosegaarde and V2_Lab are looking for two fashion designers (M/F) to contribute to the 'Intimacy' series.

'Intimacy White' (2009), the first dress in the series, is made out of smart foil that becomes transparent when electrified. The distance of a spectator to the dress determines the level of transparency. This first dress received a lot of media attention and is considered highly successful. V2_Lab and Daan Roosegaarde now intend to make a series of 'Intimacy' dresses, each playing with a different material to create a sensual play of shared control.

'Intimacy Lotus' is a new heat-sensitive material by Studio Roosegaarde, responding and physically moving to the subtlest amount of warmth. We invite one designer to create a new interactive dress with the Lotus foil.

'Intimacy Black' is the dark sister of 'Intimacy White'.

We invite one designer to create accessories with the black foil that become
transparent when electrified.

Daan Roosegaarde says: ‘Technology is used here not merely functional but also as a tool to create intimacy as well as privacy on a direct, personal level ... which in our contemporary tech society is becoming increasingly important.’

In order to take this step from one dress to a series of fashion items, V2_Lab and Daan Roosegaarde are looking for:

  • Recently graduated or senior year fashion designers (M/F);
  • He or she must be able to participate in thought process along the lines set out by V2_Lab and Studio Roosegaarde in the preliminary stages and therefore must be a good team player;
  • He or she must be ambitious and determined to achieve our request for success;
  • The project starts on 1 May 2010. It is a full-time position for a period of 8 weeks.

What we offer:

  • Access to functioning new technology, an existing prototype and an artist' Impression of the intended final product;
  • A workplace at V2_Lab;
  • The opportunity to collaborate with an experienced, interdisciplinary team;
  • Technical support and backup;
  • Exhibition of the end result;
  • Name credit.

Please send your resume/portfolio and motivation before 15 April, preferably by email, to

V2_Institute for the Unstable Media

Attn. Piem Wirtz

Eendrachtsstraat 10

3012 XL Rotterdam

Eligible designers will be invited for an interview end of April.

About 'Intimacy White'


'Intimacy Project Blends In Latest Technology With The Trendiest In Fashion Today'

'Intimacy: A Sensitive High-tech Garment'

'Intimacy— A Sensual Haute-tech Wearable'

Read more…
2011 Call for Participation, open to members of the Leonardo Education
and Art Forum

CAA 99th Annual Conference
New York, NY, February 9–12, 2011

Due May 3, 2010

Leonardo Education Forum
New Media, Art-Science, and Mainstream Contemporary
Art: Toward a Hybrid Discourse?

Edward A. Shanken, University of Amsterdam;
Since the mid-1990s, new media has become an important force
for economic and cultural development. Support institutions
including Ars Electronica, ZKM, and Eyebeam have expanded,
while interdisciplinary PhD programs at the intersections of
art, science, and technology have proliferated internationally.
Simultaneously, mainstream contemporary art experienced
dramatic growth, propelled by the proliferation of venues from
Art Basel Miami to the Shanghai Biennial, and by the creativity
of artists, curators, dealers, and pedagogues. Yet rarely do these
two art worlds meet. As a result, their discourses have increasingly
diverged. To what extent are art-science, new media art,
and mainstream contemporary art commensurable? Is it possible
to construct a hybrid discourse that offers insights into each,
while enabling greater mixing between them? What roles have
educational programs played in fostering these divides and how
can they contribute to suturing them? What insights into larger
questions of emerging art and cultural forms might be gleaned
by such a rapprochement?

Every proposal should include the following six items:
1. Completed session participation proposal form, located at the
end of this brochure.
2. Preliminary abstract of one to two double-spaced, typed
3. Letter explaining speaker’s interest, expertise in the topic, and
CAA membership status.
4. CV with home and office mailing addresses, email address,
and phone and fax numbers. Include summer address and
telephone number, if applicable.
5. Documentation of work when appropriate, especially for sessions
in which artists might discuss their own work.
6. If mailing internationally, it is recommended that proposals be
sent via certified mail.

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1. Who, what, why, where, when, how, how much are you? Gather images ofyour grandparents and parents. Doctor them in Photoshop and ‘cartoonize’ programs. Start collectiveblog. Get/expand face book, flicker,you tube, second life, twitter, sketchup warehouse, and other select socialmedia sites. Pose on some of theseas another gender, race, class, nationality, or ghost/spirit/vampire/etc. Start comic life or comic bookmaker. Start your graphic novel.Collective topic: Vitalism contra Materialism. Keep a sketchbook. Open source software to download and touse: comic life, cartoonize, comicbook creator, onyx, audacity, sketchup, blender, processing, open cobalt, openoffice, pure data, gimp, imovie, windows media maker, audacity, gamer, drammatica,and others.

2. Interaction in art and tech! Why? Start your rant! Assignments due online! Adialog with sentience at the beginning and the end of the world. Post it on you tube. Start to turn the rant into a storywith a storyboard. Continue with the social media sites. Storyboard a sci-fi narrative about abiosphere in trouble. Make music!yes""> Study sketchup.

3. Liquid boundaries! Describe that! Continue to rant! Discuss storyboard in class. Music of the spheres! The virtual performer! Chart a map of your telepresent (fictional or non-fictional!) on a map. Fall in love! Savethe world! Visit visual complexityand complexification. Continuesci-fi story of biosphere. Placeyour family within it.

4. Liminal space! What does it mean to exist between? Start a fictitiousromance! Weave all of this intoyour graphic novel. Place personalphotos within the spaces of sketchup as a museum within the biosphere. Do the same on second life. Go to the woods with your digitalcamera. Find textures andsilence. Record this.

5. Collaborating on interactive works. Design and immersivetelepresnet space. Explore patchesin Max/jitter and Processing. Project works on colleagues. Work on a larger piece. Continue the blog and you tube.

6. Avatars! Design a sexy one (male, female, or other) and design theurban transport vehicle for living and moving for the avatar in sketchup. Place results on the sketchup warehouseand second life. Continue novel.

7. Why? Memes and Genes…is the real game Genes? Fold proteins on ‘fold it’. Design a sustainable society for yourfailing biosphere. Engage otherson the social media sites. Midtermperformance! TBD.

8. Where: the big urban planet sinking.yes""> Continue a rant on how to fix the global economy. Engage in skype with a ‘skypepal’. Engage in a conferenceprogram and a possible skype meeting of enemies.yes""> Continue novel and blog and formulate in a story.

9. The big city. The noosphere, the big brain.yes""> You are a part of a large, global telematic city and it issinking! Where are you going for aliving and a job? Who are yougoing to love and where will your genes going?yes""> Picture it. Design it. Draw it. Continue the graphic novel. Blog and vlog your head off.

10. Design the zero-distance space! The university of the future. Add as many human-computer interface devices as possible. Find andcollect all the beginning materials for a brain wave reader. Your assignment is to design an ‘anti-university’to make the present expensive university obsolete!yes""> Treasure hunt.

11. All the world is a stage: use the onstage/offstage metaphor to design the new media performance venue and lifestyle enhancement zone! Prepare some physical computingprojections and VJ programs with dancers and try them out! Continue rants, vlogs, blogs, andgraphic novel.

12. When? What is a time-based performance? Design some artistic program in film,sound, or other media for your smart phone.yes""> Play with time/space.yes""> Study quantum mechanics and physics. Where is time? Maps?yes""> Layout a psycho geography of your past and future time. Where is spectacle in time? Is spectacle obsolete?

13. The body and the verb. To do. Make. Work witha movement performer or athlete. Thehive and the outsider: are you theape in the ant heap? Go to thewoods or beach again at sunset. Describe, record sound, film, and photograph it. Compose this in a sound and real-timepiece.

14. The vital and the material. Are numbers stupid? The will as object and energy. Collaborate on the interactive performance for the media-club performance in NYC.yes""> Hack up, trick up wii, wii fit, joysticks, gyro mouse, irwebcam, braincap, and any other human computer interface. Make ‘future archeology’ of objects,verbs, films, insertions, interventions, and other ‘witnessing’ you will leavein the physical environment.

15. Make a straight, linear storytelling from your graphic novel. Then cutthat up. Add game elements, Do thesame about your life in the past 15 sessions.yes"">

16. Do the big show in the media club in NYC. Invite face book lurkers andthe press. Archive.

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Music from movement via wii

We're getting closer to our goal, we have the first of 3 arrangements for the Gaia project, where I will create amazing sound via my movement courtesy of Nintendo wii remote controls on my arms and legs, plus a combination of JunXion and Ableton Live
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Hello dance-techers,
welcome all new members as we are about to reach the 3000 mark!
We are beyond critical mass...!
Remember that you can customize your pages design and layout.
Update your member profile and explore others and connect to them...
Use the network to announce your events, and share work, ideas and questions. Participate in discussions and collaborate with others.
Share videos and photos (create albums for them to be in the home page).
Very important:
Please, describe the content that you upload and use tags


Share your thoughts: On innovation in dance and technology? how innovation in D&T is related to the dance field in general?

Check out discounts in shows, software and hardware for members (for all kinds of membership)

Watch recent interviews: Deborah Hay, Meditation in NYC Subway, Koosil-ja/danceKUMIKO and more
You may access the interviews randomly:

We have launched the online store and we need your recommendations

Watch the featured content in dance-techTV: selection of lectures, documentaries, screendance, festivals and interviews

Now you can take advantage of an engaged community to advertise performances, festivals, conferences, lectures, educational programs on and more: LIVE broadcasts in
dance-techTV, video channel lease, etc.

Read about how to support with a new membership system and its benefits

VIP collaborators:

Interviews by Deborah Hustic

Transmediale coverage by Karla kracht

Think about the
advantages of having a press pass in your favorite

if you want to formally collaborate with covering
festivals, doing interviews or any other creative way...get it touch
with me.

Lectures co-produced by Johannes Birringer: Performance Research Lectures Series


Stay tuned for April dance-techTV programs!



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Sw'Equity One

Sw'EQUITY ONE [Priliminary]

This is the prelimary specification for the Sw'Equity One 'Atelier' project which will open for use in 2011-03. The 'Home' Location will be San Jaun Harbour, Vancouver Island

San Juan Harbour.htm

Sw'Equity One Preliminary.pdf

There are several interesting uses that will be of interest to the community at large. I will post our growing technical capabilities


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Dance Research Electronic

Dance Research is pleased to invite contributions to Dance Research Electronic, the new exclusively online complement to Dance Research. Dance Research Electronic will have a
dual function. First, it will enable speedy publication of Special Issues or articles containing topical material whose appearance would otherwise be less timely. Second, it will accommodate supplementary material relating to articles published in the print edition, such as lengthy appendices or media files.

For Special Issues and individual articles, abstracts of the relevant material (up to 800 words for Special Issues and up to 200 words for individual articles) will appear in the subsequent print edition. Material which supplements print edition articles will be referenced in the article with the appropriate website address.

Dance Research, Dance Research Electronic is required reading for anyone who seeks to keep abreast of developments in the contemporary understanding of dance practice and culture and will appeal to both to scholars and practitioners alike.

Please submit your manuscript electronically by emailing it as an attachment to the Editor, Richard Ralph, at For Special Issue on Dance and Neuroscience, see below.

Dance Research Electronic welcomes use made by authors of illustrations,
film and music clips, providing the author has secured permission to reproduce
these materials from the copyright holder. While concision improves chances of
publication, serious consideration will be given to submissions to
Dance Research Electronic where the nature and quality of the content justify greater length.

Articles submitted to
Dance Research Electronic are subject to blind refereeing procedures.

Digital Images
Guidelines for submission of digital material can be found here:
Guidelines for Submission of Images in Digital Form

Discounts for Authors
Journal Authors are entitled to a 40% discount on the journal issue containing
their paper, a 20% discount on all EUP books and a 10% discount on any journal
subscription. Please contact to order books at discount and for discounted journal subscriptions.

Dance Research Electronic: Call for Papers
Special Issue:
Dance and Neuroscience - New Partnerships

Guest Editors:
Corinne Jola, Frank Pollick, and Dee Reynolds


‘You get a sense of when the moment is right for something – and for dance,
this is that moment’ (Duncan Gray, commissioning editor of entertainment for
Sky 1). Gray’s statement is a response to the explosion of interest in dance in
the UK.
The current fascination with dance is visible in manifold ways, such as a steep
rise in the number of boys applying to ballet school, increased audience
members for TV, screen and live dance, but also in the numbers participating in
dance, from clubs to community centres. At the same time, the moment is right
for dance-neuroscience partnerships. With current technological developments,
neuroscientists are extending the boundaries of our knowledge of the human
brain. In particular, results from research using brain imaging techniques have
caught the public imagination. Neuroscientists are drawn to study dance
because, as a highly complex form of movement, it offers a fertile field to
explore mind-body processes as well as the neural basis of aesthetics. In turn,
neuroscience offers dance scholars new insights on long-standing debates
concerning mind-body relations in choreographing, performing and watching

This field has garnered widespread interest, as evidenced by recent research
and public exposure. In ‘The Dancer’s Body: A Machine that Dances’ (BBC
2, September-October 2003), former Royal Ballet prima ballerina Deborah Bull
investigated the science of dance, featuring both choreographers and brain
Thinking in Four Dimensions: Creativity and Cognition in Contemporary
, appeared in 2005 (Grove et al. 2005). Key studies, including Calvo-Merino et al, 2005 and 2006 and Cross 2008, drew on findings about the so-called mirror neuron system to investigate the relationship between expertise in performing dance and brain activity when watching it. Their conclusions about the influence of motor expertise on brain activity when watching dance have provided a powerful catalyst to debates about kinesthetic empathy in dance spectators (Foster, 2008). Tanz im Kopf / Dance and Cognition (Birringer & Fenger) appeared in 2005. Several interdisciplinary research projects are exploring related issues, and numerous recent symposia and workshops have addressed dance/neuroscience questions. These include The Dancing Brain (Dana Foundation, London, 2003), Dance and the Brain (Frankfurt, 2004), Dance, Movement in Time and Space (with Mark Morris; Society for Neuroscience,Washington DC, 2008), The Embodied Mind (Calouste Gulbenkian Foundation,2008); Research Workshop on Dance and Cognitive Neurosciences (Experimental Psychology Society, London, 2009). Research publications in this field continue to appear (e.g. Calvo-Merino et al, 2008, deLahunta et al, 2009), and Ivar Hagendoorn and Thomas Komendzinski are currently editing a special issue of Phenomenology and the Cognitive Sciences on Dance and Cognitive Science (forthcoming, Fall 2010). Clearly, the dance-neuroscience duet is in the spotlight.


New partnerships require flexibility and open-mindedness. With the Special
Issue on ‘Dance and Neuroscience – New Partnerships’ we aim to provide a
platform for original research that is relevant to both fields and is presented
in accessible terms We welcome contributions which report the results of
original empirical research and/or which review and assess existing
scholarship, on condition that they throw new light on key issues and
point to innovative directions for the future. As this is an online issue, we
welcome use made by authors of illustrations, film and music clips. Topics we
wish to explore include, but are not limited to, the following:
• What insights do we gain from neuroscientific research on cognitive,
emotional, and physical experiences related to dance and how? For example:
• the multimodal sensory processing used by dancers and dance spectators;
• the reasons why people enjoy performing and watching dance;
• how dancers respond to one another in the group dynamic;
• what neural processes come into play in the act of choreographing dance;
• how choreographers communicate with their dancers, and how dancers visualise
cues and embody them kinesthetically
• What claims made by neuroscience relate to existing debates in dance studies
and how;
• What other disciplines can/should be used to expand/critique knowledge gained
through neuroscience and how? For example:
• Existing or prospective collaborations of neuroscientists and other
disciplines (e.g. cultural studies, philosophy, anthropology, sociology,
qualitative audience research, critical theory) to research this field


Prospective contributors are invited to
send a 500-word outline by email to
by 1 May 2010
. Abstract submissions will
be subject to blind refereeing procedures. Articles will be chosen for further
consideration by 1 June 2010 and must be submitted in draft by 1 October 2010,
and the definitive version by 30 January 2011. Texts should normally not exceed
7,000 words, including endnotes. However, while concision improves chances of
publication, serious consideration will be given to submissions where the
nature and quality of the content justify greater length. Submissions
must conform to the
Dance Research Electronic
stylesheet, which is available upon request.
Dance Research Electronic welcomes use made by authors of illustrations,
film and music clips, providing the author has secured permission to reproduce
these materials from the copyright holder. All necessary copyright permissions
must be arranged by individual authors in advance of publication.
Enquiries are most welcome, and should be addressed by email to

Publication: Spring 2011

Selected references
and Cognition (Jahrbuch der Gesellschaft für Tanzforschung 15, Münster: LIT
Verlag, 2005)
'The Neural Basis of Human Dance'. Cerebral Cortex,
16, 1157-1167.
sensorimotor aesthetics of performing art'. Consciousness and Cognition, 17,
'Seeing or doing? Influence of visual and motor familiarity in action
observation'. Current Biology, 16, 1905-1910.
'Action Observation and Acquired Motor Skills: an fMRI Study with Expert
Dancers'. Cerebral Cortex, 15, 1243-1249.
CROSS, E. S., HAMILTON, A. F. D. C., & GRAFTON, S. T. 2006. 'Building a
motor simulation de novo: Observation of dance by dancers'. Neuroimage,
31, 1257-1267.FOSTER, S. 2008. 'Movement's Contagion: The Kinesthetic
Impact of Performance'. In: DAVIS, T. C. (ed.) The Cambridge Companion to Performance Studies. Cambridge: Cambridge
University Press.
DELAHUNTA, S., BARNARD, P.J. & McGREGOR, W. 2009 'Augmenting Choreography:
using insights from Cognitive Science', In BUTTERWORTH, J. AND WILDSCHUT, L.
(eds.) Contemporary Choreography: A Critical Reader.
GRAFTON, S. T., & CROSS, E. S. (2008). Dance and the brain. In C. Asbury
& B. Rich (Eds.), Learning, arts and the brain: The Dana Consortium Report
on arts and cognition (pp. 61-68). New
York: Dana Press.
& MARCEL, A. (2006) Bodies Meet Minds: Choreography and Cognition,
Leonardo, 39(5), 475-477.

Read more…
Watch featured content in dance-techTV: performances, lectures, documentaries, screendance, festivals and interviews

InterAct: Public Meditation in NYC Subway
EARTH DAYS trailer
Deborah Hay: What if...? Excerpts from A Lecture on the Performance of "Beauty"
Interview with Koosil-ja/dancekumiko
@ the tech of Koosil-ja Blocks of Continuality DTW 3_2_10
Panorama09 :: Gilles Jobin - entrevista
Panorama 2009 | Chamecki / Lerner :: Borbulho
Janez Jansa Life [in progress] (instalação) Panorama 2009
Panorama09 :: Boyzie Cekwana :: Influx Controls: I wanna be wanna be
Panorama09 :: Cena 11 :: Embodied Voodoo Game
Panorama09 :: Des-Mapas/Caminhozinho
Interview with Jaime Del Val 2 Phase ETP Madrid
CYNETART 09:: IntoLight (team) :: Idol Task
Three's A Crowd by Andy Wood (UK)
Vera Mantero: Let's Talk about it Now
Andrea Davison/ Le Corps sonore: Towards an Immersive Performance Environment, London/ Wednesday, March 11th [Recorded Wed Mar 11 13:39:25 EDT 2009]
Cinedans: meeting with Alain Platel / Sophie Fiennes
Inter-face to face-view: Merce Cunningham interviewed by Foofwa d'Imobilité, July 2000, Vienna, Austria
Johannes Birringer: "OPEN SCORE:Performance, Media, Networks"
Interview with William Forsythe
Synchronous Objects Trailer
Extra-09 World grid lab Workshop Group trailer
Interview de Yann Marussich
Interview of Rachid Ouramdane
Interview with Sasa Asentic: Balkan Dance Platform 09

Watch featured content in dance-techTV: performances, lectures, documentaries, screendance, festivals and interviews

Thank you to all individuals and organizations that have collaborated with content and co-production of live broadcasts!!

Please leave comments here!
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Nits Salvatges (Wild Nights) is a research project that invites different artists to visit residual or tangential environments that open up new lines of investigation within their own personal evolution.

8 new performances by: Esther Ferrer, Oscar Abril Ascaso, Abraham Hurtado, Colectivo 96º, Elena Córdoba - Cristóbal Pera, Amalia Fernández, Gérald Kurdian and Davis Freeman.

Friday April 23th

- Esther Ferrer
- Colectivo 96º
- AmaliaFernández
- OscarAbril Ascaso

Saturday April 24th
- Abraham Hurtado
- Elena Córdoba - Cristóbal Pera
- GéraldKurdian
- DavisFreeman

Where: CCCB - C/ Montalegre, 5 - 08001 Barcelona
When: at 9pm
Price: 5 euros / Reduced: 3 euros - Friends of the CCCB, students, retired, unemployed persons, identification cards of professional associations of scenic arts, identification card libraries, Carnet Jove. Sale anticipated at the ticket offices of the CCCB from the 23/04. Sale of tickets with discounts at ATRAPALO

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From dancespace project site

After several years of experimental ensemble investigation,
award-winning choreographer Deborah Hay returns to solo
performance in response to an invitation by Juliette Mapp and Danspace
Project. In No Time To Fly, she partners with long-time
collaborator, lighting designer Jennifer Tipton, whose work has
been pivotal to Hay’s aesthetic vision over the last decade.

During her evening-length solo, Hay seeks to open the door to sustained
moments of non-linear learning for the performer and the audience alike.
“If I am to really admit and celebrate the ephemeral nature of dance,
then I must learn to see, experience, and respect time passing.”

Don't Miss:

Artist Talk with Deborah Hay
A Lecture on the Performance of Beauty
March 24, 2010 • [Wed] • 7:00 PM
Location: The Great Hall, The Cooper Union,
7 East 7th Street, NYC
Join groundbreaking choreographer Deborah Hay for a talk framed around
the question 'can a formal and stimulating adherence to a prescribed set
of hypothetical conditions be seen as choreography even if there is no
learned movement?'


Find more videos like this on
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Dança em foco: production call-for-entries

For this year’s edition, dança em foco – Festival Internacional de Vídeo Dança is launching two grant programs for videodance creation/production. The initiative was made possible because of the new sponsorship of
Petrobras, the Brazilian oil company.

“Historically, dança em foco always supported diffusion and training. Even in our partnerships, we were always concerned with screening videodance and contextualize it through
workshops, debates with local artists etc. Since 2002 we had the idea of
a grant program, but we still couldn’t make it happen. In 2007 we had a
program that awarded videos created for cell phones. This year we
managed to make both happen!”, Paulo Caldas, one of the curators,

The festival will award in the Vídeo1′ program videodances recorder with cell-phone cameras. The videos must be sent until April 23 and they must last up to one minute. Each creator
will be allowed to submit one project and it must have been made from
January 2009 on. Those selected will receive an award of R$ 1.000 and
will be screened at dança em foco 2010.

In the Vídeo5′ program, screenplays for a videodance production of up to 5 minutes will be selected. The projects must be sent until April 30. Those selected will receive from R$ 3.000
to R$ 6.000, according to the project’s budgets.

Both programs seek to award projects that integrate dance and video as an autonomous composition. Besides the two, Rumos Itaú is another program aimed exclusively at the research and
production of videodance. It recently screened the result of its last
edition. Given the growing interest in the videodance language, many
questions arise about what fits into this form of expression.

For Caldas, this debate will go on for a while. “Any difficulty in thinking about videodance is an unfoldment of the issues that emerge with contemporary dance. They are potentiated in the
videodance context. All the tension of experimentation in dance also
appears in videodance. In the curatorship process, I try to look for
movement principles in that piece. It could be the body, editing or
camera. This makes a connection between cinema and dance.”

The regulation is available at the festival’s website. More information may be obtained at


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Venues: CUNY Graduate Center (365 5th Ave), Galapagos Art Space (16 Main St., Brooklyn), Issue Project Room (232 3rd St., Brooklyn)


The second New York City Electroacoustic Music Festival presents composers, performers, and media artists from the US and abroad in three days of experimental sound art and multimedia. NYCEMF will showcase over 120 new works and installations, demonstrating the fascinating and wide range of artistic invention that occurs when musicians work with computers, electronics, and new media.

All events at the Graduate Center are free and open to the public. Shows at Galapagos and Issue Project Room are $10-15/person. We hope to see you there!

Festival Concert Schedule (
Galapagos Arts Space show - a marathon evening of works 3/25 7:15 - midnight! (
Issue Project Room show (

NYCEMF is sponsored by Meyer Sound. NYCEMF is supported in part by Harvestworks and the CUNY Doctoral Students' Council. Our special thanks go out to David Olan of the Graduate Center Music Department.


March 25th - Thursday

Installations 9:00 AM–7:00 PM

* Heather Frasch / Afrooz Family, Post-Industrial Organisms - Room 5409
* Sam Salem, Pond Life II - Room 5489

Concert 1: 11:00 AM–12:00 PM, Segal Hall

* Akira Takaoka, Responsorium
* Jory Smith, X-Lands
* Kotoka Suzuki, Epiphyllum Oxypetalum
* Dan Tramte, Eight Gluons
* Steve Everett, Shiver

Concert 2: 2:15 PM–3:15 PM, Segal Hall

* Keith Hamel, Traces II
* Peter McKinnon, Pianosophagus
* Karen Lauke, Copper Vibrations
* Jorge Sosa, Ariel
* Yota Kobayashi, Kakusei
* Christopher Chandler, The Spark of Opposites

Concert 3: Curated by Robert Dow: 4:00 PM–5:00 PM, Segal Hall

* Pippa Murphy, Postcard from Paris
* Robert Dow, Uncertain Memory
* Diana Simpson, Cipher
* Alistair MacDonald, Equivalence
* Pete Stollery, Vox Magna

Meyer Sound Presentation: 5:00 PM–6:00 PM, Segal Hall
Peter Otto, presenter

* Auditory Illusions, Simulations and Hallucinations: A Spatial Audio Update

Concert 4: 7:15 PM–9:15 PM, Galapagos Art Space

* Ivica Ico Bukvic, derelicts of time
* Andrew Walters, Encroachment
* Christopher Hopkins, The Animus Winds
* Chelsea Leventhal, Breach
* Adam Scott Neal, For Tape
* Krzysztof Wolek, Arguro
* Joshua Fineberg, The Texture of Time
* Andrew S. Allen, Leaflet
* Joshua Clausen, There was a whole, there was beginning, begin there
* Eric Chasalow, Due (Cinta)mani

Concert 5: 9:30 PM–1:00 AM, Galapagos Art Space

* Michael James Olson, Waterstate
* Shield Your Eyes, Shield Your Eyes
* Dimitris Lambrianos, Tetraktys
* Paul Fraser, 8-bit Cycles
* Thomas Royal, Ruptures
* Paola Lopreiato, con forze che si svolgono sferiche
* Yuta Uozumi, biotope
* Ranjit Bhatnagar, Closing Doors
* David Hindman / Evan Drummond, Modal Kombat
* Paul J. Botelho / Russell J. Chartier, CONFINED-10-01-2
* Hannah R. Gilmour, Chill Before Dawn
* Nathan Bowen, Iron Rod
* Howard Kenty, Any Lucky Ten
* kinan azmeh, walls and towers

March 26th - Friday

Installations 9:00 AM–7:00 PM

* Gary DiBenedetto, Grinding Wheel & Scythe - Elebash Lobby
* Zachary Seldess, A Head of View - Elebash Lobby

Concert 6: 11:00 AM–12:00 PM, Segal Hall

* Christopher Burns, Sawtooth
* Burton Beerman, INVISIBLE IMAGES
* Michael Pounds, Recollection
* Felipe Otondo, Ciguri (2008)
* Ragnar Grippe, 8th Abstraction
* Rob Collins, pizz collide

Concert 7: 1:00 PM–2:00 PM, Elebash Hall

* Monique Buzzarté, Subtle Winds
* David Z. Durant, An Owl Drives in the Rain
* Jeff Stadelman, Song of Itself
* Jason H. Mitchell, Sk'elep
* Tom Williams, Can
* Franke Neumann Ruder Schmidt Weinheimer, Frühjahrszug (Spring Migration)

Concert 8: The Tornado Project: 2:15 PM–3:15 PM, Segal Hall
Performed by Esther Lamneck, Clarinet and Elizabeth McNutt, Flute

* Robert Rowe, Primary Colors
* Eric Lyon, Trio
* Paul Wilson, Beneath the Surface
* Andrew May, Still Angry
* Ricardo Climent, Russian Disco

Concert 9: 3:45 PM–4:45 PM, Elebash Hall

* Javier Alejandro Garavaglia, Pathétique
* Cort Lippe, Music for Snare Drum and Computer
* Miguel Chuaqui, Saturniana
* Ronald Keith Parks, Fractures

Concert 10: 5:00 PM–6:00 PM, Segal Hall

* Yen-Ting Cho, Kapsis
* Mark Zaki, Everything We Say is Deformed
* Chikashi Miyama, Thrum
* Claudia Robles, TRAVELOG#1 -Nuit Bleue-
* Christian Banasik, Ihr Fassen nach Wind
* Stephen Travis Pope, Jerusalem's Secrets -
Mass for the New Millennium, Pt. 1
* Young-Shin Choi, UJO IMU III

Concert 11: 7:15 PM–9:15 PM, Elebash Hall

* Anthony Cornicello, Spiral Jetty
* Judith Shatin, For the Birds
* Joo Won Park, Decrescendo
* David Taddie, Licorice Stick Groove
* monty adkins, veil (fabrications 2 : after Pip Dickens)
* Ted Coffey, Blue Cycle: Noise
* John Mallia, Vestibules
* Hans Tutschku, rojo
* Hubert Howe, Clusters
* Izzi Ramkissoon, Domesticated Animalia

March 27th - Saturday

Installations 9:00 AM–7:00 PM

* Jeff Thompson, Glistening Waves - Elebash Lobby

Concert 12: 10:00 AM–10:45 AM, Elebash Hall

* Konstantinos Karathanasis, Dionysus
* Andy Dolphin, ilinx
* Seung-Hye Kim, The Tightrope Dancer
* Michael Drews, Infrastructure

Concert 13: 11:00 AM–12:00 PM, Segal Hall

* Asha Srinivasan, Alone, Dancing
* Bruno Ruviaro, Fonepoemas
* Andrei Foca-Rodi, La Mienne
* Fred Szymanski, Arkose
* M. Anthony Reimer, untitledededede
* Samuel Pellman, M45
* Oliver Carman, Metamorphosis I
* Andrew Babcock, Anagoge

Concert 14: 1:00 PM–2:00 PM, Elebash Hall

* Philip Schuessler, Supercell
* Hila Tamir-Ostrover and Iddo Aharony, Kutra Begulma
* Paul Riker, Commuter
* Richard Zarou, Ad Vitam Aeternam
* Judy Klein, railcar
* Dan VanHassel, Lush Intrinsic

Concert 15: 2:15 PM–3:15 PM, Segal Hall
Performed by Arthur Campbell, Clarinet

* Elizabeth Hoffman, through ripple glass
* Colby Leider, Twin Prime Conjecture
* Maurice Wright, Soliloquies; echoes
* Benjamin Broening, Radiance

Concert 16: 3:45 PM–4:45 PM, Elebash Hall

* Chester Udell, Brass Alchemist
* Richard McCandless, Voyager
* Jason Bolte, Noises Everywhere
* John Gibson, Blue Traces
* Dan Hosken, Dancemad
* James Paul Sain, redbird express

Concert 17: 5:00 PM–6:00 PM, Segal Hall

* Philip White, Quote the Ocean
* Heather Frasch, métal re-sculpté
* Travis Garrison, Untitled 2003
* Bryan Jacobs, A Gentle Ruin
* Jen-Kuang Chang, Drishti III
* Douglas Geers, Inanna's Descent
* David Olan, Alborada for Oboe and Computer-generated Sounds
* Edgar Barroso, ACU

Concert 18: 7:15 PM–8:45 PM, Elebash Hall

* Juraj Kojs, Aiael's Gold
* Braxton Sherouse, splatter, articulate, recurse
* James Dashow, Soundings in Pure Duration N.2a
* Mark Engebretson, SaxMax
* Ryan Olivier, Metronomic Hommage
* Yury Spitsyn, Enertia
* Sebastian Lexer, Dazwischen - An improvisation between the electro - acoustic

Concert 19: 9:30 PM–11:30 PM, Issue Project Room

* Jeff Herriott, dissipation of a thought
* Erik DeLuca, In
* Paul Schuette, Everything Must Come From Something
* Steven Snowden, Fathoms
* Matt Malsky, Thirteen Ways of Listening to a Loudspeaker
* Andrew Greenwald, Block.flt - (for flute and supercollider) (2009)
* Paula Matthusen, rosenthaler
* James Borchers and John Hulsey, 26 Years:1 Week:72 Hours
* Jorge Variego, "Now that you are here"
* R. Luke DuBois, Synaesthetic Object
* Andrew Nemr and Sean Hagerty, Chasing the Train

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XII Festival VideoDanzaBA 2010

September 4 to 12, 2010
DEADLINE: June 15, 2010

| Call for entries 2010
The International Festival VideoDanzaBA opens its call for selection for its twelfth Edition, to be held from September 4th to 12th, 2010.

The call opens in two categories:
• Video-dance as an art form
• Documentaries on dance

For entry form and regulations, please visit

Pieces must be sent by regular mail up to June 15th, 2010 to:
Benjamín Matienzo 2571 (C1426 DAU)
Buenos Aires – Argentina
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On March 26, Parsons and MoMA with IFF, Seed, and Coty present Headspace: On Scent as

Headspace is a one-day symposium on the conception, impact, and potential applications of scent. This event gathers leading thinkers, designers, scientists, artists, established perfumers as well as
"accidental perfumers" (a selection of architects, designers, and chefs
invited to experiment with scent) to acknowledge scent as a new
territory for design and begin to draft the outline of this new
practice. The event marks the establishment of a new MFA
in Transdisciplinary Design
at Parsons.
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Medialab-Prado issues a call for the presentation of projects and papers to be developed and presented during Interactivos?'10: Neighborhood Science workshop (June 7 - 23, 2010).

With the participation of: Platoniq, Douglas Repetto, and the working team formed by Andrés Burbano, Alejandro Araque, Alejandro Duque and Alejandro Tamayo.

Deadline: April 19, 2010
List of selected proposals: April 28, 2010
Call for collaborators: May 4 - June 4, 2010

More info here:

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ACDFA Reflections

ACDFA Central Region's 2010 conference is now over, and was a great time for our class! On Saturday, March 20th, we presented "Snack Time", an interactive presentation/demonstration of our explorations in telematic dance performance.

The presentation was great success, and the students who participated really enjoyed learning about the ideas and technologies, and mostly they enjoyed the DANCING! Some highlights of our two-hour workshop:

Interactive activities:
-"Herd" score exploring motion-based control of stage lighting
-Improvised score with two spatially displaced (far away) musicians (Felipe and Justin) from SARC in Belfast (, and one local (in the dance space) musician (Jeff).

Demonstration modules of the session:
-An off-site introduction to the session by Melissa via skype
-Introduction to DMX lighting control
-Video motion tracking with Isadora (
-Programming of interactive lighting and video visualization using MAX (
-High-quality, low-latency, two-way multi-channel audio tranmission via JackTrip (

The students enjoyed exploring the interactive creative environment made possible by digital technologies. Both students from our class and those visiting for ACDFA are now challenged to imagine new ways that movement can create meaningful, engaging experiences for audiences and participants alike.
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Screen Moves

Launch: 18h00, 18 March 2010

At: DanseHallerne – Copenhagen Denmark

Curators: Jeannette Ginslov & Maia Sørensen

"Whose lens are we looking through?"

Representation of Politics - Politics of Representation.

Screendance works from Africa selected by dance video makers Jeannette Ginslov and Maia Sørensen. A discussion and presentation after the showing will be broadcast live on MoveStream, a co-production with and Walking Gusto Productions.


Walking in Plastic 2009 07’39 (South Africa) Kai Lossgott - Director

Nora 2008 35’00 (Zimbabwe) Alla Kovgan & David Hinton – Directors

Sanctum I 08’ 43 (Africa)

Jeannette Ginslov – Director, choreographer & editor

Exotica 2009 05:10 (Mozambique)

Sergio Cruz – Director, camera, editor and sound designer

Sanctum II 2009 04’45 (Africa)

Jeannette Ginslov Director, choreographer & editor

Karohano 2008 08’55 (South Africa & Madagascar)

Jeannette Ginslov – Director, camera & editor

Despotica 2008 20’00 (South Africa)

Mlu Zondi – Concept & performance. Video Loop on TV monitor outside.

Two minutes before we went up we found out we got funding from the Danish Arts Council!

The discussion that followed the screening will be posted onto movetream next week as well as interviews with the video dance makers.

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I witnessed a strange travel as a spectacle.

A spectacle with an installation as a scenography but also as a structure, almost a dramatic structure.

Imagine an audiovisual installation, where you can listen to music and poems, where you can watch images through video, and see and listen to people who are interviewed about their past, a terrible one.

Imagine a dancer as a poet who sometimes dances, but most of the time he moves his body in slow motion, pushing buttons which turn on music, video or a microphone. The poet recites his poems in a quickly and monotonous way, poems with hard images of his past and images from his last travel to Indochina.

Imagine this poet as a dancer who dance beautifully, in some moments doing it only with his hands with a dark background, then you can only see his hands in movement, like in a photographs with lines of light of a city by night.

Rachid Ouramdane dances very little his poetry, exposes his past through words, through images, in a travel to his father's destiny in Indochina; he exposes all about this travel and its origins as in an art gallery, exhibiting it.

Imagine that we can not feel any identification with him because he never opens the door to it. Even without identification there is no place for a Brechtian theory, this spectacle is only an exhibition, far from theatre and drama, but it is an installation in movement, an installation on stage which speaks and dances.

This is the first time I got this experience from a dance spectacle and I'm interested in what will happen with this strange structure.

Should I say I liked it?

No video allowed inside Enwave Theatre but you can see a video in Youtube with some images of this dance (Loin) and other works.

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