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Update on 'Corporeal Computing' event at University of Surrey (September 2-3, Ivy Arts Centre University of Surrey, Guildford0

Deadline extension for conference papers/ performances/ publication contributions (May 8th, 2013)

Confirmed presenters:

Paul Kaiser (Openeneded Group), will be showing 'After Ghostcatching' in 3D

Thomas Calvert (CEO Credo Interactive)

Kirk Woolford (University of Sussex)

Mark Coniglio (Troika Ranch)

Nic Sandiland (Middlesex University)

To submit an abstract, or for more information, please visit:


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Motion Bank Workshop No. 5 on “Writing Dance” under the direction of Jonathan Burrows, Matteo Fargion and Adrian Heathfield will commence in just a few days. From April 16 to 18, participants will come together at Frankfurt LAB to focus on discussion leading to practical work. Emphasis will be towards investigating choreographic and compositional processes, and experimental writing and scoring practices, questioning how a dance can be made and what it can communicate to the audience.

As part of the workshop, a Motion Bank Salon will take place once again. We therefore cordially invite you to join Adrian Heathfield on April 17 at 6 p.m. when he presents the film “Writing Not Yet Thought,” in which he and French author Hélène Cixous discuss the practice of writing as it relates to the genres of fiction, essays and poetry and its relationship to painting, music and philosophy.
Admission is free.
For more information, please visit

In addition, we would like to make you aware of one of our main events in 2013: as part of the 2013 Dance Congress, which will be held from June 6 to 9 in Düsseldorf, Motion Bank will be presenting the digital score based on Deborah Hay’s choreography “No Time To Fly.” Motion Bank and the Forsythe Company will also be conducting several workshops and talks at the event. 
More information on the Dance Congress program is available at

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In days of old, a computer was an object of awe that had to be handled with great care lest it fail. Today, the computer is just a variation on a wrench or Swiss Army Knife: it’s a household tool used to fix something, to make something, to bash something, to locate something, to tighten something. It is a means to an end that can be wielded wildly.


That’s why this year’s workshop is expressly designed for physical performers – anyone whose primary expressive means is through the action of the body. Our idea is to use computer technology and algorithmic thinking to inspire new ways of devising and organizing movement, a network of digital constraints within which we want you to become a whirling dervish.


To that end, each morning begins with a two-hour movement exercise designed to closely mimic – in physical terms – the technological process that will be explored later that same day. In the afternoon, you’ll learn how make a technological implementation of that physical process in the software Isadora®. Everyone will end up with a very similar structural framework – a tiny “engine” of interaction.


Then, both individually and as a group, we will rigorously explore several questions: how does this technological system inform, dictate, change my movement choices? What conflicts do I feel between my body’s desire and the imposition of the system? Can I, or should I, subvert it?


Each day we will inject these interaction-engines with “fresh fuel”: new visual and aural material, altered action, rigorous rearranging, tender touches, and dramatic destruction.


By the end of the workshop you will have discovered the computer as a tool of intervention in your movement process, will have gained a bit of technical know-how, and – most importantly – will leave with a greater understanding of how digital systems can lead you to surprising compositional outcomes.


When: July 15 – 19, 2013

Time: 10:00AM – 4:00PM, Monday through Friday

Where: Studio 2, 810 SE Belmont Street, Portland, OR 97214

Fee: $750 (Includes a one-year license for Isadora)

Application Deadline: May 7, 2013

Notification of Acceptance: No later than May 17, 2013

Non-Refundable Deposit Deadline: $250 Due by May 31, 2013.

NOTE: Troika Ranch requires a minimum of 6 confirmed participants in order to hold the workshop. If less then 6 deposits are received by May 31, 2013, the workshop may be cancelled. Cancellation would be announced by June 3, 2013.

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Moving Without A Body
Digital Philosophy and Choreographic Thoughts
By Stamatia Portanova
Digital technologies offer the possibility of capturing, storing, and manipulating movement, abstracting it from the body and transforming it into numerical information. In Moving without a Body, Stamatia Portanova considers what really happens when the physicality of movement is translated into a numerical code by a technological system. Drawing on the radical empiricism of Gilles Deleuze and Alfred North Whitehead, she argues that this does not amount to a technical assessment of software’s capacity to record motion but requires a philosophical rethinking of what movement itself is, or can become.

Discussing the development of different audiovisual tools and the shift from analog to digital, she focuses on some choreographic realizations of this evolution, including works by Loie Fuller and Merce Cunningham. Throughout, Portanova considers these technologies and dances as ways to think—rather than just perform or perceive—movement. She distinguishes the choreographic thought from the performance: a body performs a movement, and a mind thinks or choreographs a dance. Similarly, she sees the move from analog to digital as a shift in conception rather than simply in technical realization. Analyzing choreographic technologies for their capacity to redesign the way movement is thought, Moving without a Body offers an ambitiously conceived reflection on the ontological implications of the encounter between movement and technological systems.

Stamatia Portanova choreographs technology, media, dance, and philosophy together to make a brilliant, multilayered account of contemporary culture and the changes and possibilities brought by the floods of computation. This is a book full of sensual abstraction and lucid, rigorous bodies: an inspiration!”
Matthew Fuller, David Gee Reader in Digital Media, Digital Culture Unit, Centre for Cultural Studies, Goldsmiths, University of London

Moving without a Body is a book about choreography, and about the use of digital technologies in contemporary dance. But beyond this, the book also offers a deeply original discussion of the relations between body and mind, between analog and digital, and between the fluidity of the organic and the algorithmic complexity of software. These pairs of terms should not be seen as opposites; for Stamatia Portanova demonstrates the fertile creativity that arises from their intertwining.”
Steven Shaviro, DeRoy Professor of English, Wayne State University; author of Without Critiera: Kant, Whitehead, Deleuze, and Aesthetics

“In the increasingly rich literature exploring the intersections between contemporary dance and philosophy, Stamatia Portanova’s Moving without a Body stands out as a true achievement. Investigating the digital as metaphor of thought, Portanova shows how choreography is not only concerned with the creation of artistic works, or with the implementation of training techniques, but reveals itself to be also, and importantly, an ‘abstractive perspective’ that forces us into thought—as Deleuze would say.”
André Lepecki, Associate Professor, Department of Performance Studies, New York University

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