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All  lectures and panel discussions will be live streamed from London, this weekwekend.



Member of the network

ARTAUD FORUM 2:  Konnecting Gestures                                                             

Artaud Performance Centre

Friday, March 30                                                                                

20:oo  Opening Address (Artaud Performance Centre 001)

20:15        Sonic Arts Concert  (001)

Featuring:      Sonic Arts Ensemble, and vocalist Jennifer Walshe.
                      Thomas Köner and Carl Faia: The Futurist Manifesto

Saturday, March 31      

09:30  Registration / Coffee   (Artaud Performance Centre)

10:30   A001: Keynote:   Pieter Verstraete on gestures and sound                                

11:30   Welcome address, William Leahy, Head of School

11:35 – 13:00  Roundtable 1 (with presentations by Julian Henriques,
Eirini Nedelkopoulou, Nick Collins)                              

13:00   Lunch break                                                                                                                                                                             
14:00 –17:00  Physical Movement/ Sound Lab (001)  BadCo with Ivana Ivkovic &
Zrinka Uzbinec
14:oo – 17:00 Electronics Lab on Kinect interfaces (003)  Ian Winters
14:00 – 17:oo  Clinic with Carl Faia (Music and Programming); Presentation of new work/demo by Arthur Elsenaar

Short Coffee break                                                                                                                                                                              
17:10   Roundtable 2:  Reflections on Sound Performance
(with presentations by Jay Murphy, Nicolas Salazar-Sutil; Claudia Robles;
John Collingswood; Ian Winters)

18:30   Reception / dinner buffet, followed by art openings:                            

19:30   Installation-Performances  (101) (103)(115) (107)(109)
            "Cabinets of Post-Digital Curiosities": performance installations by Camilla Baratt-Due (N/D), Jörg Brinkmann (D),
            Arthur Elsenaar (NL),   Kate Genevieve & Alex Peckham (UK), Rebecca Horrox (UK) & Dani Ploeger (NL/D/UK)

21:00   Concert & Performance Installations (001)
           John Collingswood “Duet for Three” / Frieder Weiss, “Blue Flow”   /    Simon    
           Katan "DarkStar"    

      Julie Wilson-Bokowiec, with Mark Bokowiec:    

Sunday, April 1

10:00    Presentation:     Body Performance Noise  (introduction)
                                      Darren Vincent Tunstall: Non-verbal communication/embodied experiential knowledge
11:00   Roundtable 3 (Artist presenters: Camilla Baratt-Due, Jörg Brinkmann, Arthur
                                      Elsenaar, Kate Genevieve, Rebecca Horrox
  Response panel: Alissa Clarke (performance studies scholar, De
 Montfort University),
                                     Sophia Gräfe (media art critic, Bauhaus University Weimar),
                                     Niall Richardson (media and film theorist, University of Sussex)
                                     Chair: Dani Ploeger (Brunel University)

13:00  Lunch break

14:00  Theatre / Sound Lab :     KINECT 2, and Frieder Weiss
            Clinics with Carl Faia, Daniel Ploeger

16:00   Roundtable 4
(moderated by Johannes Birringer, featuring Julie Wilson-Bokowiec and Mark Bokowicz, Nick Till,  Frieder Weiss, Carl Faia, Simon Katan, and guests)

17:00   Concluding Remarks

Be with us!!


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Trailblazing Conceptual Walks Organization Announces Third Season
Two years ago, Elastic City was just an innovative idea. Poet and performance artist Todd Shalom, then 33, returned to New York from living abroad and wanted to continue to have the feeling of travel while back in his hometown. Drawing upon the community of artists and thinkers he inhabits in New York and around the world, he started Elastic City to present conceptual walks that make audiences active participants in a poetic exchange with the places we live in and visit. The organization, now entering its third season, has already surpassed Shalom’s dream. Over 30 artists thus far have led walks, not only in New York, but also in Detroit, Buenos Aires, London, Reykjavik and Sao Paulo. Upcoming walks are planned for San Francisco, Berlin and Paris.

The new season, which runs April to October 2012, features walks from American and international artists, both emerging and established. These include: Adam Weinert; Andrés Andréani (Argentina); Andrew Mount; Ben Weber; Eileen Myles; Felipe Meres (Brazil); J. Morrison; Jon Cotner; Josely Carvalho (Brazil); LoVid (Tali Hinkis & Kyle Lapidus); Lynn Marie Kirby & Alexis Petty; Maria Chavez; Matthew Radune; Meredith Ramirez Talusan; Michelle Boulé; Miguel Gutierrez; Nancy Nowacek; Neil Goldberg; Niegel Smith; Office of Recuperative Strategies (Christian Hawkey & Rachel Levitsky); Pratt Institute students; Robert Mauksch; Sarah Owens; Todd Shalom; Tomaz Hipólito (Portugal); Xavier Acarin (Spain).

Some highlights include internationally acclaimed dance artist Miguel Gutierrez’s unique “Sensewalks,” which plan to awaken, explore and illuminate the senses through movement-based techniques. He will lead participants through such locales as the High Line, the New York Public Library, the Staten Island Ferry and Prospect Park. “Stories the City Tells Itself” is a walk through the lens of video artist Neil Goldberg that will capture everyday passenger behavior in NYC subways. Using their brand new reality-warping GPS-based smartphone app, iParade, LoVid will trace the path of Alexander Hamilton’s oft-moved house in Hamilton Heights (Harlem).

What follows is a listing of walks offered from April through June.


“Moss Me” by Tomaz Hipólito

In "Moss Me," Tomaz Hipólito presents participants with a recipe for a green intervention amidst Manhattan's dense urban landscape. Drawing on Tomaz' background in architecture and his current practice in visual art, the group will identify and evaluate abandoned objects to paint, then use a homemade mixture of moss and yogurt to coat the objects. Individually and in groups, participants will paint these objects, re-engaging the street's detritus.

This walk holds eight people and is presented in partnership with Residency Unlimited and Le Petit Versailles (a program of Allied Productions, Inc). “Moss Me” will be held in English, but Tomaz also speaks Portuguese and Spanish.

Thursday, April 12, 2012 at 6:30pm
Wednesday, April 18, 2012 at 6:30pm    
Wednesday, April 25, 2012 at 6:30pm

Walk Starting Point
346 East Houston St. in Manhattan. "Moss Me" meets outside Le Petit Versailles public garden.

90 minutes



“Stories the City Tells Itself” by Neil Goldberg

On this walk, video artist Neil Goldberg invites participants to experience the observational processes behind his work in real time. The group will traverse a section of the subway with attention directed to details of the underground environment and nuances of passenger behavior that might otherwise go unnoticed. Goldberg will share his poetic approaches to seeing, refined over 20 years of creating art in New York. This walk holds 15 people and will end inside the Museum of the City of New York's exhibition of Goldberg's work.

This walk is presented in partnership with The Museum of the City of New York. There will be no walk-ups for this walk; prepayment is required.

Thursday, May 10, 2012 at 3:00pm
Saturday, May 12, 2012 at 3:00pm

Walk Starting Point
The meeting location will be in the Lower East Side and disclosed upon registration.

2 hours

$25 for non-members; $20 for Museum members, seniors and students


Sensewalks by Miguel Gutierrez

Each walk holds 16 people. All abilities welcome.

Sensewalk #1: “EVERYTHING IS NEW”

For the first of the four Sensewalks, participants will gather in Prospect Park to investigate the five basic senses—hearing, seeing, smelling, tasting and touching—teasing their particular properties apart through anatomical and experiential exercises and then watching how they interact, compete, rise and fall to construct a magical and wondrous reality. Miguel will then lead these new bodies on a trip through the Prospect Park Greenmarket. Be ready to roll in the grass.

Saturday, May 19, 2012 at 12:00pm

Walk Starting Point
Please meet at the big arch (Soldiers and Sailors Memorial Arch) at Grand Army Plaza, Brooklyn.

100 minutes


Sensewalk #2: “MOVE ME BABY”

Get ready to speed up, slow down, get on your feet and then fall off balance. In the second Sensewalk, Miguel Gutierrez will lead participants in playing with the different components of the movement senses so that every place becomes a potential context for physical adventure. The group will be moved across the water via the Staten Island Ferry where they’ll take their sea legs for a spin.

Wednesday, May 23, 2012 at 6:30pm

Walk Starting Point
Broadway and Beaver Street in Manhattan, in front of the HSBC bank. Please wear something comfortable that won’t constrain your high kicks!

90 minutes


Sensewalk #3: “SPACE IS THE PLACE”

In the third Sensewalk, we'll go in to go out—way out. Participants will enter the hallowed halls of the New York Public Library to travel into the senses of space and time. Using the simplest of actions – walking, standing, sitting, lying down – the group will find out how our bodies register the poetics of the environment and observe how a seemingly stable environment becomes an arena for change and possibility.

Saturday, June 2, 2012 at 1:00pm

Walk Starting Point
Meet at the bottom of the front steps of the New York Public Library (the Stephen A. Schwarzman Building) on Fifth Avenue at 42nd Street in Manhattan.

90 minutes



In the fourth and final Sensewalk, participants will take flight on to the High Line to explore an exciting and interconnected array of senses that relate to play, composition, and performance. Using the context of one of the most popular destinations in NYC as a playground, studio and stage, participants will find out how to unleash the art and performance makers inside us, as the group traipses along the slippery lines between participant and observer. Have no fear!

Wednesday, June 6, 2012 at 6:30pm

Walk Starting Point
Northwest corner of Gansevoort St. and Washington St. in Manhattan

90 minutes



“Unchanged When Exhumed” by LoVid

Building upon their work that renews appreciation of the physical environment through a digital lens, LoVid, along with guest performers and their newly developed smartphone application, iParade 2, will lead "Unchanged When Exhumed." Participants will travel the route of Hamilton Grange’s historical move around Harlem. Using locative video that transforms one's surroundings into a virtual set, participants may graze with a hungry tree, safari in jungles between residential homes and the street, and climb hills to uncover an emerald treasure. This walk holds 15 people.

Directed, written, filmed, and produced by LoVid

App development by Sean Montgomery

Soundtrack by Maria Chavez

Theme song by Dan Friel

With appearances by: Juan Pazmino, Pauline Decarmo, Yoni Weiss, Silvia Angulo, Gregory Sheppard, Irene Moon, and Vera Beato Smith

"Unchanged When Exhumed" is made possible with support from DiAP NY City College, Experimental TV Center Finishing Funds, NYSCA,, Franklin Furnace Fund, and Elastic City.

Thursday, June 7, 2012 at 7:00pm
Saturday, June 9, 2012 at 4:00pm
Saturday, June 9, 2012 at 6:00pm

Walk Starting Point
1619 Amsterdam Avenue in Manhattan, outside of Cafe One. Participants should arrive to the walk with a fully charged smartphone (iPhone or Android) and be prepared to download a free App. Headphones are optional.

1 hour



“Necessity” by Todd Shalom & Niegel Smith

This walk is what you need it to be. We're all in this together.

"Necessity" holds 6 people.

This walk will be held in English but the artists also speak Spanish.

Sunday, June 10, 2012 at 4:00pm

Walk Starting Point
29 Union Square West in Manhattan, in front of "Coffee Shop"

Unknown. (Since the duration is unknown, please plan accordingly.)



“Superfun/d Speed Date” by Ben Weber

Hi. My name is Ben. I'm a Capricorn and my spirit animal is a moose.

They say this is the year when everything changes. The sun will flare, the poles will crumble, and the heart of the galaxy will align with the center of the Earth. As humans, we're the shepherds of this cosmic transition. Personally, I'd like to convene with the Mayan ancients as much as the next guy, but it's tough forging meaningful connections in the sweaty New York City summertime.

Let me take you to a tangle of art & industry in LIC, where we'll prepare for this new cycle using techniques from applied theater. We'll peek into a poisoned creek and sculpt our bodies into the baggage we wish to leave behind as we enter the World of the 5th Sun from world of the 7 train.

This walk holds 8 people.

Tuesday, June 12, 2012 at 7:00pm
Thursday, June 14, 2012 at 7:00pm
Saturday, June 16, 2012 at 7:00pm

Walk Starting Point
46th Ave and Vernon Blvd. in Long Island City, Queens in front of LIC Bar.

2 hours


About Elastic City

Todd Shalom, a New York native, devised Elastic City while traveling in Peru and founded the organization in 2010. Having worked in a variety of artistic genres (poetry, sound and performance), he decided to expand upon his existing repertoire of sensory-based walks and commission other artists to lead walks in their own disciplines. Elastic City walks explore various planes of human sensory and aesthetic experience, such as dance, architecture, poetry, sound art, the paranormal and ritualistic performance.

Elastic City is now in its third season of presenting conceptual and poetic walks by artists throughout and outside of New York. With this season, over 50 artists will have led walks.

Elastic City has partnered with numerous organizations to co-present its walks, including Brooklyn Botanic Garden, Brooklyn Flea, Le Petit Versailles, Museum of the City of New York, NY Art Book Fair, Open House NY, Pratt Institute, Residency Unlimited, Wave Hill and Urban Design Week.

In 2012, Elastic City will launch its educational program, beginning with a series of “ways.” Whereas a walk offers the opportunity to participate in a narrative series of poetic moments, "ways" are experiential workshops that explicitly engage participants in *how* to generate these moments through exercises, tools and techniques offered by Elastic City artists. In a "way," participants gather in an intimate group to prompt exchange, tone the gut and sharpen poetic decision-making. Elastic City ways typically do not involve walking and are offered outdoors unless otherwise noted.

Each walk & way lasts approximately 75-120 minutes and costs $20 on average.

Payment for walks & ways can be made on-site or via the Elastic City website at:

Elastic City is a non-profit organization awaiting 501c3 status and is currently fiscally sponsored by Flux Factory.

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Massachusetts Dance Festival (http:www.massdancefestival) is again creating dances across the state in 2012, on June 23rd and 24th @ Boston University Dance Theatre, 915 Commonwealth Avenue, Boston, MA, 02215, and again September 22nd and 23rd, at UMass Amherst  Bowker Auditorium, Amherst, MA, 01003. 

Saturday evenings @ 8:00 pm MDF presents 12 professional companies based in Massachusetts, for a multi-cultural, multi-genre sensory spectacular!  Sunday afternoons @ 4:00 pm present 12 emergent dance companies, also showcasing the widest variety of high level entertainment from youth groups across the state.  Admission: $25 Sat nites, $15 Sun afternoons, with BDA, senior and youth discounts.  All tickets are $5 off when ordered in advance, online.

Our Mission:

Massachusetts Dance Festival believes that dance, as a major component of arts and culture, is essential to meaningful lives and healthy communities.

Dance and arts education contribute to quality life in the 21st Century by providing rich education for youth and promoting cultural understanding and tolerance, within diverse communities.

MDF offers annual statewide education workshops and performances that are inclusive of all dance genres.  Our festivals provide opportunities for professional and emergent dancers and choreographers, while inspiring community-wide involvement.

MDF seeks to raise the profile of dance as a profession in Massachusetts, as a means to stimulate social and cultural development across our state.


Help us create enlivened communities! Call today: (781) 6086084; (508) 429-7577

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AffeXity Phase 02 Lighthouse Videos 01-06


Spring 2012 Artist in Residence @ MEDEA - Jeannette Ginslov
Research for AffeXity
For more details see:
Funded by Danish Arts Council

Videos Shot & Edited by Jeannette Ginslov
Performed by Susan Kozel
Video Produced by Walking Gusto Productions
Location Malmö Lighthouse, Malmö, Sewden
© AffeXity & Walking Gusto Productions 2012

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Facilitated by marlon Barrios Solano


Wordle: Lada worksshop intro...

Some references:
Here Comes Everybody: The Power of Organizing Without Organizations
Cognitive Surplus: Creativity and Generosity in a Connected Age

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Digital strategy
What might a DS look like?
Speed/efficiency around what we already do
Audience data – more data, and how we might use it

What we do now, expanded:
You Tube channel
Digitizing Study Room/other content
Editing/authoring/making DVds

What’s completely new:
Integrated web/databases
UB website design
Study Room/other content online
Sharing Doc Bank content with curators online
Ebooks/other publishing
Library of Performing Rights

Funding (more staff, equipment)

Staff time
Staff turnover/knowledge loss

Given the Agency's remit, activities and ambitions what are the ways we should be thinking about digital technology (as a resource, as a platform, as a context etc), what possibilities does the future hold for us, and how can we best implement/integrate these thinkings/aspirations into our work given our limited resources of time, people and money?

References pre workshop:
Introduction to responses to You Tube

The machine os us (cool video on Web 2.0 changes)

Shared Culture (intro video about new licenses for digital age)

Open education movement

Tactical Media and the politics of the archive (from tactical media frame but relevant for us)


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Entrevista a Mateo Feijoo

Mateo Feijoo insta a los países Latinoamericanos a fijar su propia agenda de temas de interés tendiendo en perspectiva y tratando de huir de los errores europeos. Cree en la necesidad de establecer un nuevo código de relación entre artista y estructura y apuesta por MOV-S como curador.

Entrevista completa aquí.

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Entrevista a Patricia Picazo

Patricia Picazo Sanz es asistente técnico a la dirección en el Centro Cultural de España en Malabo (Guinea Ecuatorial). Nos habla sobre cómo cree que ha de ser esta cuarta edición del Espacio para el Intercambio Internacional de Danza y Artes del Movimiento MOV-S.

¿Qué preguntas/temas propones para el debate en MOV-S 2012 si queremos hablar de futuro y de otras formas de operar en danza?

• Las danzas afrodescendientes en Iberoamérica y España.
• Las fronteras entre el teatro y la danza en África. Más allá de los tópicos africanos.
• La danza “en español” en África: Guinea Ecuatorial.
• La danza como factor de desarrollo.
• Itinerarios escénicos: Proyectos en red, creación en red.
• El hip hop, danza urbana ¿global? ¿lenguaje común?
• Seguir investigando en las piezas audiovisuales dentro de la danza, la posibilidad de diálogo con ellas.

Teniendo en cuenta que MOV-S se plantea como un proceso y no como un evento, ¿cómo crees que se debería dar continuidad al trabajo? ¿De qué manera propones seguir avanzando sobre los acuerdos? y proyectos que surjan durante el proceso y durante el propio encuentro?

Propondría talleres que lleven a creaciones en red, pequeños proyectos que cada participante pueda llevar a su realidad y continuar allí para un montaje final.

Sin duda crear una red entre las diferentes instituciones/profesionales interesadas en crear un proyecto común.

¿Cómo propones trabajar durante el evento? ¿Qué tipo de actividades/metodologías consideras que se deberían incluir en el programa? ¿Te gustaría proponer alguna dinámica en particular?

Talleres, charlas, mesas de debate.

Entrevista en pdf.

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Berkeleyside: dance anywhere

Since 2005, on one day, simultaneously around the world, dancers, students, cab drivers, artists, business folk and dreamers, young and old alike put aside their daily grind and unleash their moving creativity in parks, sidewalks, office buildings, schools, museums, subways, anywhere their dancing bodies will fit. Now in it’s eighth year, public art performance piece dance anywhere® will take place on Friday, March 30, 2012 at Noon pacific standard time (PST) 3pm EDT (New York, etc) 9pm in Paris, Rome, etc.

Artist and dance anywhere® creator Beth Fein explains, “When I first thought of dance anywhere® it was just an idea. Imagine if we all took a moment to dance. It changes your day, your mood… when you stop to dance, you find inspiration and creativity you may have forgotten. With tough economic times, and so much divisive discourse, here is common ground we can all enter, even if just for a moment - anyone can dance anywhere.”

At noon (PST) on March 30th, thousands of people in countries (including Estonia, Argentina, Italy, Turkey, Ireland) across the globe, will pause to express themselves through dance. Join us for another year of transforming public spaces and everyday relations into vehicles of inspiration. Anyone is encouraged to participate, and the project involves people of all ages, abilities, nationalities, and backgrounds. It is free for dancers and audience alike. Participants have been professional dancers and artists, plumbers, doctors, soccer players, teachers and politicians. Some dances are choreographed, some are improvised, and some stretch the definition of what dance is

Friday, 30 March, 2012

Starts at 12:00 PM

View the original article here.

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12249521864?profile=originalOpen call for CYNETART competition 2012

The international CYNETART competition is open to artists, designers and scientists who dedicate themselves in their artistic and reflective discussion; in particular, to interdisciplinary and hybrid approaches. The call for submissions accompanies the festival every two years since 1996. This competition represents some of Europe's most prestigious prizes in the field of media art.

The following prizes will be awarded:

I. Grant of the Arts Minister of Saxony: 10,000 EUR,

II. The artist-in-residence grant from the Arts Minister of Saxony 2013,awarded in cooperation with the Office of Cultural and Historic Preservation, City of Dresden: 10.200 EUR

III. CYNETART Prize, donated by HELLERAU(European Centre for the Arts): 5,000 EUR

The allocation of additional CYNETART-prices is intended.

CYNETART is an internationally renowned festival for digital culture, based in Dresden. The 16th edition of the festival will present a major exhibition of winning projects as well as selected competition entries, first-class performances and high profile/level music. The programme will include live sets of international electronic musicians and VJs at the Festspielhaus Hellerau and other emerging venues in Dresden. The next festival edition will take place from 15 to 21 November 2012 in Dresden, Germany.

Application deadline for the above prizes: 30 March 2012

For more information please check the website:

To participate, please send a signed submission form and documents by 30 March 2012 to:

[ Trans-Media-Akademie Hellerau e.V. ]
[ CYNETART office ]
[ Karl-Liebknecht-Str. 56 ]
[ 01109 Dresden ]
[ Germany ]

CYNETART Festival 2012: 15 to 21 November 2012 | at the Festspielhaus Hellerau | Dresden | Germany

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Entrevista a Toni Cots

El creador e investigador catalán Toni Cots, es el protagonista de esta nueva entrevista en la que se habla de los temas a tratar en el encuentro de MOV-S en Cádiz, la metodología de trabajo y su posible continuidad.

¿Qué preguntas/temas propones para el debate en MOV-S 2012 si queremos hablar de futuro y de otras formas de operar en danza?

Me interesa especialmente el tema de la movilidad, de los derechos culturales y el funcionamiento de las redes. Cuando me refiero a redes prefiero pensar en redes que vehiculen conocimiento y experiencia más que redes de carácter comunicativo y de producción/distribución.

Cómo elaborar un banco de información basado en artículos, reflexiones, presentaciones de investigaciones y procesos que posibilite tanto una difusión pública de carácter periódico (virtual) y al mismo tiempo sirva de espacio de intercambio, relación y diálogo entre los profesionales. Más que un archivo hablo de pensar en un contenedor generador de diferentes estratos de información. Quizás Teatron sea un ejemplo, pero pienso también en Sarma (contenedor de artículos críticos) o incluso Artea con su archivo de las artes escénicas. Pero a todos ellos les falta un dispositivo que se abra a un público interesado en la danza y sus propuestas.

Teniendo en cuenta que MOV-S se plantea como un proceso y no como un evento, ¿cómo crees que se debería dar continuidad al trabajo? ¿De qué manera propones seguir avanzando sobre los acuerdos y proyectos que surjan durante el proceso y durante el propio encuentro?

Creo que aparte de que surjan grupos de trabajo, la posibilidad de que se pueda generar una base de datos compartida como archivo que permita la publicación periódica de artículos críticos, metodologías de trabajo y sistemas de gestión sería un gran paso.

¿Cómo propones trabajar durante el evento? ¿Qué tipo de actividades/metodologías consideras que se deberían incluir en el programa? ¿Te gustaría proponer alguna dinámica en particular?

Mi interés actual es el trabajo entre teoría y práctica para generar herramientas de cara a la educación en danza y de la danza como instrumento/herramienta educativa, a partir de diferentes contextos. Otra cuestión que sigue siendo de primer orden es la movilidad y derechos culturales.

Entrevista en pdf.

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Entrevista a Mariana Soares

Mariana Soares, responsable de relaciones internacionales y programación de Cena Cotemporânea - Festival Internacional de Teatro de Brasilia (Brasil), nos da sus ideas para el trabajo en MOV-S 2012.

¿Qué preguntas/temas propones para el debate en MOV-S si queremos hablar de futuro y de otras formas de operar en danza?

Dada las condiciones económicas y las nuevas organizaciones del trabajo, propongo que los temas de futuro tengan un especial enfoque hacia los procesos de trabajo colaborativos y en red que pueden fortalecer el sector y disminuir su dependencia de la institucionalidad. Herramientas de trabajo y comunicación, formación, financiación y creación partiendo de procesos colaborativos. También el tema de la cooperación y circulación artística más allá de las fronteras europeas (Latinoamérica, África, Asia) es un tema que tocaría discutir para el futuro y que interesa una buena parte de los gestores/creadores.

Teniendo en cuenta que MOV-S se plantea como un proceso y no como un evento, ¿cómo crees que se debería dar continuidad al trabajo? ¿De qué manera propones seguir avanzando sobre los acuerdos y proyectos que surjan durante el proceso y durante el propio encuentro?

Creando una plataforma continua donde quede claro los beneficios para la gente que haga parte: unos prácticos (convocatorias, oportunidades de colaboración) y otros políticos (contenidos y discusiones)… es cada vez más difícil mantener la gente conectada de manera sostenible. También el modelo “satélite” del IETM, que propone pequeños encuentros presenciales descentralizados con dinámicas y experiencias que después son llevadas a una esfera más amplia.

¿Cómo propones trabajar durante el evento? ¿Qué tipo de actividades/metodologías consideras que se deberían incluir en el programa? ¿Te gustaría proponer alguna dinámica en particular?

Mesas de trabajo con temáticas concretas e intercambio de experiencias/entrevistas son formatos que me gustan. Propongo espacio de experiencias entre artistas, capsulas de creación, de donde saquen alguna cosa juntos en pocas horas de proceso: ¿un manifiesto?, ¿un flamenco?, ¿un dibujo? como un ejercicio primario de dinámica creativa simbólica para concretar este término muchas veces intangible que se llama proceso colaborativo.

Entrevista en pdf.

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William Forsythe interviewed by Thierry de Mey (2006)
About  the making and performing of One Flat Thing, Reproduced

More about Choreography or ELSE

This work is shown here with as courtesy of  the artists with educational purposes.

Support and making a single donation of any amount.
Thank you!

Contact for more information


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Indeterminacy & Improvisation in Performance & Environmental Practice


A symposium on movement, science,
and the environment in New York City.

March 23rd & 24th @ The New School

Wollman Hall, 65 West 11th Street
$5-25 sliding scale fee 

Click here to reserve your ticket today

See below for a schedule and event details

*3-D photograph by Gerald Marks

About the Symposium

Moving Into the Out There is iLAND’s fourth annual symposium on dance, movement, and the environment. The two-day event in the heart of New York City brings together dancers, choreographers, designers, ecologists, advocates, and scientists for interactive panel discussions, field workshops, and networking opportunities. This year’s symposium features an in-depth review of PARK, an environmental performance project at Fresh Kills Landfill supported by the 2011 iLAB Residency. Moving Into the Out There will also highlight iLAND’s recent efforts to synthesize insights and discoveries from the past seven years of iLAB collaborative residencies. Detailed event descriptions are attached.

Moving Into the Out There is an open forum for exploring new methods of understanding urban ecosystems through innovative collaborations between practitioners of movement, dance, science, and environmental management. iLAND cultivates a deeper engagement with urban environmental issues through its cross-disciplinary approach, and the annual symposium invites the general public to experience and explore recent works emerging from the iLAND community. Moving Into the Out There features the work of iLAND’s 2011 iLAB Residency, opening up the results of that collaborative experience to a wider audience for discussion.

Throughout the Symposium, participants share in the process of searching for shared language and collaborative processes that cut across the arts and sciences, focusing on dance and the body as primary mediators of experience, imagination, and knowing. Through Moving Into the Out There iLAND aims to generate conversation about collaborative practice throughout communities of art and science, instigating new ways of understanding and intervening in contemporary environmental problems – particularly those related to over-development and climate change.

More information here:

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Jaime del Val en Bogotá 13-21 marzo


Seminario Medios del Cuerpo - 13 -16 marzo 2012

Organiza Grupo Okan - Facultad de Artes - Universidad Distrital Francisco José de Caldas



Uno de los temas que más se ha discutido en los procesos del grupo de investigación “Okan” y en los diferentes espacios (electiva, semillero, conversatorios) es el problema del cuerpo como un medio, por tanto como aquello que debe siempre servir para algo. En este sentido se habla de una educación del cuerpo como la manera de acoplar este a los instrumentos ya creados, el cuerpo es entonces doblegado y manipulado como medio para legitimar otras realidades, de conocimiento y de existencia concreta. Sin ánimo de establecer qué es lo correcto y qué no lo es, el interés de este Encuentro es invertir esta lógica, y pensar que, todo lo que rodea al cuerpo son medios para que este se exprese, se enuncie, se valga, dé cuenta de su existencia desde su mismidad, su autenticidad y su especificidad. Todas las cosas existentes son medios del cuerpo y no al contrario.

El cuerpo no es un medio de comunicación, la comunicación es un medio para el cuerpo, por tanto hay tantas formas de comunicarse como cuerpos existen. Enfocar y asumir la idea de “Medios del cuerpo” nos lleva a la necesidad de lo múltiple, de lo diverso, así como la idea de corporeidad desde lo auténtico, la sensibilidad específica. Esto también cuestiona la idea del cuerpo como un “objeto” curioso a ser estudiado, además de que permite no restringirnos solo a la expresión, sino ocuparnos también de la impresión.

En este sentido el grupo “Okan” propone esta jornada llamada “Medios del Cuerpo” e inscrita en un Seminario Internacional que reúna diferentes miradas en torno al cuerpo, un espacio que permita la participación de los diferentes proyectos curriculares, grupos y semilleros de investigación, a través de diferentes formas de enunciación en torno al cuerpo y desde él. La jornada se dirige, concretamente, a la realización de un performance colectivo, esto dividido en dos semanas, la primera en diálogo con un invitado y la segunda como trabajo entre los integrantes del Seminario.

“Medios del Cuerpo” es coordinado y gestionado por el grupo de investigación “Okan”, y cuenta con un invitado internacional, Jaime del Val. Se propone una primera semana en la que participaría el invitado, posibilitando así intercambios y diálogos con él, y una segunda semana en la que los integrantes concluyen el performance colectivo.



Lunes 12 de marzo: Presentación entre los participantes

Esta primera jornada se entiende como un momento en el que los participantes e integrantes de esta actividad, dan a conocer sus procesos y experiencias. Se propuso a partir de la necesidad, expuesta por los mismos integrantes, de conocer los procesos de cada uno. La forma de presentar el proceso, experiencia, o punto de vista (en relación al cuerpo) es libre de cada uno, en coherencia con las intenciones específicas, de manera que cada cual decide los medios o modos de presentarse.

  • Martes 13 de marzo:

Recibimiento del invitado Jaime del Val

  • Miércoles 14 de marzo:

Mañana: Diálogo con el invitado Jaime del Val. A manera de conversación el invitado cuenta sus experiencias e intereses. El tema fundamental es: La idea de laboratorio desde el arte y el cuerpo como laboratorio. Se podrán tocar además asuntos de la relación arte y tecnologías. (Facultad de Artes ASAB. Universidad Distrital Francisco José de Caldas.
Almuerzo y recorrido por el centro de la ciudad
Taller de creación colectiva. Asumido como un espacio de experimentación e indagación, poniendo en práctica diferentes modos y herramientas, ya utilizadas por los integrantes o propuestas por estos. Al finalizar este taller el mismo será analizado de forma que se puedan determinar ciertas pautas para un performance colectivo. Facultad de Artes ASAB
Invitado: Jaime del Val. En este caso el invitado participa de manera libre en un espacio de creación colectiva, aunque se le propone comenzar con una acción en espacio cerrado, salón amplio dispuesto para hacer proyecciones.

  • Jueves 15 de marzo:

Mañana: Encuentro sobre género y arte con diferentes invitados, colectivos y asociaciones. Invitado principal Jaime del Val. Este encuentro se realizará a manera de conversatorio, mesa redonda. (No implica una charla formal que presenta Jaime del Val, sino una conversación alrededor del problema de género)

4:00 pm: Charla del invitado con estudiantes, donde muestra su experiencia y sus intereses Auditorio Facultad de Artes ASAB

6:00 pm: Acciones en espacios del centro de Bogotá (Invitado Principal Jaime del Val)

  • Viernes 16 de marzo:

En la mañana: Conclusiones, propuestas. Despedida del invitado.


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Friday, March 30, 2012 at 8:00pm until Saturday, March 31, 2012 at 11:00pm
The Universal Hall, Findhorn
Annual programme of film and video based around dance and the body.

A unique insight into the work of this highly influential and award winning video dance artist.

The two day programme includes:
A selected retrospective covering over 15 years of Katrina's work
A curated programme of Katrina’s all-time most influential and inspiring movers and makers from the world of dance film
Guest speaker - Chirstinn Whyte will introduce and present the retrospective.

The venue is the magnificent Universal Hall Arts Centre, Findhorn, situated on a 2 mile long peninsula amongst beautiful beaches, sand dunes and woodland.

An intimate style vintage cinema will be set up in the basement of the universal Hall. Drinks permitted - BYO.

Event Passes £15. Single screening tickets £6.

See website for details:

Limited Capacity. Event Pass holders must arrive at the venue door 15 min before the published screening times to guarantee a seat.

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hello  dance-techers,

 I have received some questions that are motivating me to clarify two important points:

-The  DONATION System:  

There is an integrated system that REMINDS you that and .TV are projects that are supported by donations of its users/members.

So, I have integrated a system that REMINDS YOU about this with a prompter. It invites you to make a donation that is VOLUNTARY.  


So, this is not a payment, but it reminds you that you have the opportunity of supporting this project covering  the costs and to be able to keep it free and available for users that won't be able to  to afford a membership fee.

I have noticed that most of the members that have complained, they have not read the explanation.

This is how it looks the  window for donation:


See, that it is set to 0.00$,


you may then show your support donating the desired amount. 

More information here:

about enablers:

2.-Emails with the dance-tech news: 

I would be sending some curated news at least once a week: they include relevant posts and announcements for the community.

You may opt out to receive this or any emails from the community changing  your email settings. Go to settings>emails...

See screenshot:


Please, contact me or leave acomment if you have any question,


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12249522680?profile=original Jeannette Ginslov – Artist in Residence at Medea Spring 2012

As artist in residence at Medea this Spring, Jeannette Ginslov will be researching and developing her ideas on “capturing affect with a handful of techne” within the framework of the AffeXity project. See the AffeXity blog for regular updates:

Together with a team of researchers and students, Ginslov will be exploring and striving for a number things:

developing the technical requirements and skills for capturing affective choreographies embedded in cityscapes, using video, the web browser Argon and mobile networked hand held devices.

amplifying and exploring affect through dance embedded within city locations, examining “patterns of relations between people, technologies, and architectures…ebbs and flows of affect…created and sensed by bodies in motion” (Susan Kozel).

exploring a phenomenological and collaborative approach to the choreography, the capture and reception of this interdisciplinary art form.

researching altermodernism, “the internet of things” and what art critic Nicolas Bourriaud’s calls a “relational aesthetics” or intersubjective encounters, where spectators are invited, even challenged to engage with a “participatory art work in which meaning is elaborated collectively rather than in the privatized space of individual consumption.” (Claire Bishop: Antagonism and Relational Aesthetics, 2004).

subverting the commercial use of augmented reality usually associated with QR codes and downloads, by focusing on the notion of affect and dance embedded in cityscapes: a more artistic endeavor.

democratizing the use of, networking and sharing the research and technology with other screendance practitioners or interdisciplinary artists at conferences and seminars.

Partnering with Georgia Tech, BTH and masters students
This will be phase two of the collaborative project AffeXity, with Susan Kozel (Medea), Jay Bolter (Professor of Media and Technology, Mixed Environments Lab at Georgia Tech, US), Maria Engberg (Blekinge Institute of Technology, Sweden, and Georgia Tech, US), Timo Engelhardt (Masters student Malmö University Computer Science Department: Media Software Design), Nachiketas Ramanujam and Sanika Mokashi (Students at Georgia Tech USA), Wubkje Kuindersma and Niya Lulcheva (Dance artists, DK).

Phase two of the AffeXity project
AffeXity is a two year long research project. The first phase of research was conducted during my residency at the Laboratorium, Dansehallerne Copenhagen in November 2011. As yet we have no idea how many phases there will be. However in its final phase we wish to see the project becoming a “social choreography”. Anyone will be invited to shoot and upload short screendance videos, using their “body in city” as a location of affect, archive their material onto a social media dance and technology platform and finally use Argon to facilitate a “performance” in their own city. These should reflect our premier of AffeXity in Malmö, November 2012.

Research making use of many technologies and devices
My focus of research for this residency, funded by the Danish Arts Council, is to explore the dialectical relationships between technologies, human and non-human or affect and techne. The project and research makes extensive use of many technologies, technological terms and devices. It involves screendance, HD video cameras (HandyCams, Go Pro, Panoramas), green-screen shoots, QR codes, iPads, iPhones, the web browsers Argon, chroma keying, GPS, KML, HTML, Java Scripting, FCP… plus a whole team of researchers and developers with the aim of capturing and amplifying the notion of affect within a city location.

The process however starts with a performative action, a dancer, exploring a visceral negotiation or affordance within a city location, the dancer teasing out through movement, the presence of affect: a liminality, an emotion, a kinesthetics, a shimmer, the carnal, the sensorial, the visceral or subtle subjective memory, presence or vibration of a location.

How do you hold a handful of techne?
My questions and research lie in the translation of this onto the timeline and mobile devices and finally into the moment of reception by the spectator. My questions will be: Is there a gap between the affect and the techne? How does one negotiate that space? What is that space between the body and the techne? Is there one? How does one hold a handful of techne (the actual plastic, glass, metal, object as well as all the technical know-how behind these technologies and coding) and then capture affect? How does one elicit affect from the dancer relating to the location, or the viewer participating in the event? What happens between the lenses, the lens of the camera and the lens of the viewer? Since I regard the camera lens as an extension of my eye and my movement centre, am I able to connect to my visceral technology with that of the dancer’s and the camera and finally into the viewer? How do I know when it is “there”? Is there a sense of intersubjectivity, during the capture of affect and then later during the performance of AffeXity? Is this carried through by an awareness of form and content, affect and techne working “hand in hand”?

Read more about Jeannette Ginslov’s previous work here.

Presently she works here:

My online work as co-ordinator in Dansehallerne Copenhagen can be seen here: 60secondsdance.dkScreenMoves

Online Video documentary maker for Danse Konsulenten & Dansens Hus and Independent Choroeographers

Online curating and producing for and MoveStream Facilitations

Screendance works and previous stage works may also be seen on my You Tube Channel: Walking Gusto Productions and personal website

In the flesh, I teach Screendance (choreography, directing, camera and editing) at Skolen for Moderne Dans in Copenhagen and have taught internationally in South Africa, USA and Scotland. 

Image: Affect Brainstorm by Susan Kozel and Jeannette Ginslov 19.02.2012. Photo & Fx by Jeannette Ginslov

Related articles:
Mobile social choreographies: Choreographic insight as a basis for artistic research into mobile technologies – article published in Journal of Performance Arts and Digital Media
Medea’s residency program
The AffeXity project


















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