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Bell 8

A fascination for waves, the dance above and below sea level, leads one to wind, light, and hypnosis, and consider how rhythm is central to our being.

No two frames of wave footage are the same, nor are two seconds of being. The height, speed, texture of waves reveal the secret of rhythms

Exploring the myths of the gods and goddesses of the sea, we might conceive a new form of baptism


Aztec mythology

Celtic mythology

Chinese mythology

  • Mazu, water goddess and protector of seafarers
  • Guo Pu, Immortal of the Water Realm.

Egyptian mythology

  • Tefnut, goddess of water, moisture and fertility.
  • Osiris, god of the dead and afterlife. Originally god of water and vegetation.

Fon/Ewe mythology

  • Agwé, a sea loa -  salute by blowing on a conch-shell. 

Finnish mythology

  • Ahti, god of the depths and fish
  • Vedenemo, a goddess of water
  • Vellamo, the wife of Ahti, goddess of the sea, lakes and storms.

Greek mythology

  • Amphitrite, sea goddess and consort of Poseidon
  • Carcinus, a giant crab. 
  • Charybdis, a sea monster and spirit of whirlpools and the tide
  • Cymopoleia, a daughter of Poseidon and goddess of giant storm waves
  • Delphin, the leader of the dolphins
  • Eidothea, prophetic sea nymph and daughter of Proteus
  • Eurybia, goddess of the mastery of the seas
  • Galene (Γαλήνη), goddess of calm seas
  • The Graeae, three ancient sea spirits who personified the white foam of the sea; they shared one eye and one tooth between them
  • The Harpies, winged spirits of sudden, sharp gusts of wind
  • Hippocampi, the horses of the sea
  • Nerites, watery consort of Aphrodite and/or beloved of Poseidon
  • Nereus, the old man of the sea, and the god of the sea's rich bounty of fish
  • NymphsOceanus, Titan god of the Earth-encircling river Okeanos, the font of all the Earth's fresh-water
  • Pontus, primeval god of the sea, father of the fish and other sea creatures
  • Poseidon, Olympian God of the Oceans His Roman equivalent is Neptune.
  • Proteus, a shape-shifting, prophetic old sea god, and the herdsman of Poseidon's seals
  • Scylla, a Nereid metamorphosed into a sea monster
  • The Sirens, three sea nymphs who lured sailors to their death with their song
  • Thalassa, primordial goddess of the sea -  depicted in Greco-Roman mosaics as half-submerged in the sea, with crab-claw horns, seaweed for clothes, and a ship's oar in her hand.
  • Thaumas, god of the wonders of the sea 
  • Thetis, leader of the Nereids who presided over the spawning of marine life, mother of Achilles

Hawaiian mythology

Hindu/Vedic mythology

Varuna, the Lord of the Eternal Ocean

Inuit mythology

Japanese mythology

Māori mythology

  • Ikatere, a fish god, the father of all the sea creatures including mermaids
  • Tangaroa, god of the sea

Mesopotamian mythology

  • Amathaunta, goddess of the ocean
  • Asherah, Mother goddess whose title is "She Who Walks Upon the Sea"
  • Marduk, god associated with water, vegetation, judgment, and magic
  • Nammu, goddess of the primeval sea
  • Nanshe, goddess of Persian Gulf, social justice, prophecy, fertility and fishing
  • Tiamat, goddess of salt water and chaos, also mother of all gods

Norse/Germanic mythology

Persian/Zoroastrian mythology

  • Anahita, the divinity of 'the Waters' (Aban) associated with fertility, healing and wisdom.
  • TishtryaZoroastrian benevolent divinity associated with life-bringing rainfall and fertility.
  • Haurvatat, he Amesha Spenta associated with water, prosperity, and health 

Philippine mythology

Roman mythology

Slavic mythology

  • Rusalki, female ghosts, water nymphs, succubi or mermaid-like demons 
  • Veles, god of earth, waters, and the underworld

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(French) Vision’R 2015 aura lieu vers mai/juin prochains.

La période de réception des propositions est ouverte jusqu’au 15 février 2015 (minuit).


VJ est toujours à prendre dans le sens de ‘sphère de l’image live’ comprenant VJ sets, performances VJ, audiovisuelles ou multimédia, performances corporelles avec images en direct… déclenchement humainement intentionnel/interactif…


Vision’R, Festival des réseaux VJ, est donc reflet des scènes VJ actuelles, de ce qui fait bouger les limites du VJing, et de ce qui développe au mieux ses territoires connus.

Vision’R VJ Festival 2015 attend vos propositions (30 minutes minimum) pour :

- des performances expérimentales avec image live (en intérieur avec ou sans écrans)

- des projections extérieures avec ou sans mapping

- des ateliers, des rencontres, des conférences, et des présentations de projets
- des sets VJ (précisez si vous viendriez avec ou sans musiciens !)

- une scène jeune public friande de spectacles AV hors formats…

more information

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A two-month long program to develop experimental learning methods in fields outside of art.

At Node we are committed to developing and experimenting in new ways of learning. We are therefore pleased to launch the Curatorial Program – Innovators Grant  to offer 6 innovators the opportunity to develop strategies that apply art-thinking to practical and beneficial uses in the educational field outside of the art world.


  • Dates: Between 15 August and 30 October  (exact dates to be confirmed)
  • Application deadline: 15 February, 2015
  • Duration: 2 months
  • Number of participants: 6
  • Language: English
  • Location: Berlin, Germany
  • Amount: participants receive 900 euro grant

*Please read everything carefully before applying


Through our Curatorial Program – Innovators Grant we bring together six risky thinkers/makers willing to expand the use of art and curation. With the idea of looking out from an art perspective, we will explore through the Program how art can enrich and provide practical uses to education.

The Program will focus on art-thinking rather than the art-object, applying the possibilities of art to education in other fields. By art-thinking, we are referring to strategies of knowledge that question the everyday, using intuitive, creative and poetic approaches to find different access points or pathways to known topics. Possible techniques could include making unexpected connections between disparate topics, ‘learning by doing’ and emphasising the visual.



For a two month period we will work intensively through brainstorming sessions, research, adventures and experimentation. We will use prototyping methods of trial & error to work through potential practical applications of art in education. There is no set final outcome to the Program, we will instead collaborate together to develop imaginative manuals or strategic guides. It will be a hands-on program!

more information

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Hi all,
please let me know if you're around. would love to see you there.


this is how it looked like last time:

The series Kontrapunkt brings together dance and visual art in events that link exhibitions at the Tel Aviv Museum of Art with contemporary dance pieces. The events comprise a tour of the exhibition, a dance show and a discussion between curators and artists about expression, interpretation and artistic conventions.
Curator: Lior Avizoor

Kontrapunkt #4 - 
Shattering the Myth: Depiction of Men in Israeli Art

To mark the opening of the exhibition "The Museum Presents Itself 2: Israeli Art from the Museum Collection," we have chosen to focus, in this chapter of Kontrapunkt, on one aspect of Israeli art: its depiction of men.

Although the theme is not at the center of the new display, this is a good opportunity to examine it: how is the Israeli man represented in Israeli art? How is this representation transformed over the years? And what does this transformation signify?

Following an independent viewing of the exhibition, Dr. Gideon Ofrat will deliver his lecture and offer answers to these questions, with illustrations of archetypal "masculine" images from Israeli art.

After the lecture, choreographer Roy Assaf will outline, with his work The Hill, the metamorphosis from the cheerful heroism of the new Jew to the painful sobering of the contemporary Israeli.

20:00 –"The Museum Presents Itself 2" 
20:45 – ""Erection and Limpness: Depiction of Men in Israeli Art" 
21:30 – "The Hill" dance performance by Roy Assaf

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The MacDowell Colony provides time, space, and an inspiring environment to artists of exceptional talent. A MacDowell Fellowship, or residency, consists of exclusive use of a studio, accommodations, and three prepared meals a day for up to eight weeks.

There are no residency fees.


MacDowell Fellows are selected by our admissions panels, which are comprised of a revolving group of distinguished professionals in each artistic discipline who serve anonymously for three years.


The Colony accepts applications from artists working in the following disciplines: architecture, film/video arts, interdisciplinary arts, literature, music composition, theatre, and visual arts. The sole criterion for acceptance is artistic excellence, which the Colony defines in a pluralistic and inclusive way. MacDowell encourages applications from artists representing the widest possible range of perspectives and demographics, and welcomes artists engaging in the broadest spectrum of artistic practice and investigating an unlimited array of inquiries and concerns. To that end, emerging as well as established artists are invited to apply. Applicants who are in a degree program as of the date of application are ineligible for a residency and therefore cannot apply.


MacDowell is committed to a policy of nondiscrimination and equal opportunity for all persons regardless of race, sex, color, religion, creed, national origin or ancestry, age, marital status, sexual orientation, gender identity, gender expression, and disability. No one with the AIDS virus, or HIV shall be denied admission as long as he/she is otherwise qualified. The Colony offers barrier-free access in all main buildings and some studios.


Application Periods and Deadlines
Artists may apply only once every 24 months. MacDowell will only accept applications for the next deadline.

more information

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Following a successful run at the National Theatre and a global cinema broadcast with NT Live, DV8 Physical Theatre’s latest production, JOHN, embarks on a UK and European tour from September through to December 2015.


We’re seeking an exceptional male dancer to takeover one of the main roles. Applicants should be fluent in English, have strong contemporary dance technique, strong acting skills and the ability to deliver text convincingly. It is an advantage if you can do a British accent.

Contract starts September 2015 until December 2015.

more information

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Are you an artist working creatively with code and digital media with an interest in movement? Then come join Motion Bank and the team at the Deakin Motion.Lab in Melbourne, Australia for the next Choreographic Coding Lab where movement hackers and practitioners will be gathering to discuss and work on projects, ideas and challenges in a peer-to-peer setting.
The Choreographic Coding Lab (CCL) format offers unique opportunities of exchange and collaboration for digital media ‘code savvy’ artists who have an interest in translating aspects of choreography and dance into digital form and applying choreographic thinking to their own practice. This format supports working with patterns in movement scores and structures through finding, generating and applying them with results ranging from prototypes for artworks to new plug-ins for working with dance related datasets. The CCLs also seek to support a sustainable collaborative practice among its participants encouraging ongoing exchange in a growing artistic research community.

more information

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Between the Seas Festival accepts submissions for its 5th edition

(September 7-13 2015 at the Wild Project, New York).

Between the Seas, New York City's only international Mediterranean performing arts festival, is currently accepting submissions for its 5th edition, scheduled to take place in Manhattan's Wild Project theater, from Sept 7-13 in 2015. Artists of the Mediterranean and Mediterranean diaspora as well as artists with a working interest in the region, collaborations between non-Mediterranean and Mediterranean artists, are all invited to apply.

Curated by Aktina Stathaki, the festival boasts a highly eclectic and daring programming that has so far included established and upcoming artists from Greece, Israel, Egypt, Morocco, Lebanon, Portugal, Spain, Turkey and beyond. Some of the artists that have been presented at Between the Seas are: Malika Zarra, Nejla Yatkin, Korhan Basaran, Pedro Gomes, Rachel Erdos, Ido Tadmor, Elias Aguirre, Esteve Soler, Yiannis Mavritsakis, The Arab-Hebrew Theater of Jaffa, Mancopy Dansekompagni and more.

This year the festival will accept submissions in 3 different categories: young artists/new works, dedicated to emerging artists and performance in-development; main program, that will present more established companies; and new plays intended for stage readings. Submission guidelines can be accessed here. The deadline for submissions has been extended to February 5, 2015. Submissions and inquiries should be sent to: For more information visit:

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The NPN Coproduction Fund for Dance assists artists, programmers and producers' mobility, exchange and cooperation on a national and international basis. It advances the creation of new dance productions that extend beyond solos or small formats.

The artists' origins are irrelevant; however, production must take place in Germany to a substantial degree.

The involvement of international partners as co-producers increases the chances for support, but is not absolutely necessary. Programmers are not the only ones eligible to apply; individual artists and companies can do so as well.

The applicant must be the executing producer and headquartered in Germany. In addition, at least one of the German production partners must be a producer or programmer (e.g. festival, venue or production unit).

The funds can lie between 10.000 and 50.000 EUR and no more than 50 percent of the production costs.

more information

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The NRW KULTURsekretariat is offering 6-12 week performing arts residencies for dancers, choreographers, performers and musicians. These are to be used for thematic research projects, which should not be focused on a production.


August to November 2015. The findings of each project will be presented at public events.


Rent-free accommodation for 1-2 people, plus a grant of up to €7,500, according  to the nature and scope of the research project. Personal support, mentoring and guidance. The NRW KULTURsekretariat will also provide access to its institutions and experts. Should any production emerge from the research projects, the Kultursekretariat will support any performances staged in NRW.

more information

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At berlinerpool we will be discussing the associations of ownership through open access models, mass media, and acquisition in the digital age - specifically the ownership rights of art, intellectual property and information. As well as challenging the philosophy behind owning digital files, implications of art as data, physical to digital notions of title ownership, and the difference between establishing access and ownership in the digital information.
Lecture Series: 12-18
Exhibition: 11-19. “Mothership”, 2013 by Jonathan Monaghan
Address: Berlinerpool, Chausseestr 11 (entrance from Tieckstrasse), Berlin
12-13: “Post-Soviet Collectors: Art and Identity” by Viktoria Kisseleva, 
13-14: “The Digital Future of Copyrights” by Dr. Jana Moser,
14-15: "The Tension Between Corporate Intellectual Property Rights and the Rights of Users" by Alan N. Shapiro,
15-16 Break
16-17: “The Physical Past and Digital Future of Art Provenance” by Dr. Masha McConaghy,
17-18: In conversation with Jonathan Monaghan
Please register by 15.01 at 
Seats are limited. Attendance is free.
The exhibition will run from 11.00 until 19.00, alongside the lectures. It features the digital work Mothership, 2013 by Jonathan Monaghan.
Mothership appropriates characters and objects from science fiction, advertising, videogames and art history. Challenging the boundaries between the real, the imagined, and the virtual the piece travels a space between Rainbow Road, the landscape of German romantic painting, and the Technodrome. Absurdly pulling together disparate populist imagery that evokes value, power and technology into a haunting computer animated cinematic loop, it fuses luxury apartments and medical operating rooms, as well as the London financial center and a sacred cow. 
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> Intersecting Art, Meaning, Cognition, Technology 

August 14-15 2015, Vancouver Canada

Simon Fraser University


Building on the success of the first International Workshop on Movement and Computing (MOCO’14) at IRCAM, we are happy to announce the second edition, MOCO’15 at Simon Fraser University. MOCO’15 will be co-located with ISEA2015 (

MOCO aims to gather academics and practitioners interested in the computational study, modeling, representation, segmentation, recognition, classification, or generation of movement information. We invite participants interested in exploring how movement experience can contribute to computational knowledge through movement modeling and representation. We welcome researchers that are positioned within emerging interdisciplinary domains between art & science. 

While human movement itself focuses on bodily experience, developing computational models for movement requires abstraction and representation of lived embodied cognition. Selecting appropriate models between movement and its rich personal and cultural meanings remains a challenge in movement interaction research. This two day workshop seeks to explore an equal and richly nuanced epistemological partnership between movement experience and movement cognition and computational representation.

This second edition of MOCO will bring together people working in interdisciplinary intersections of Human Computer Interaction, Computer Graphics, Machine Learning, Artificial Intelligence, Robotics, Affective Computing, Cognitive Science, Neuroscience, Psychology, and Artists from Media Art, Choreography, Composition, Dance and Design. The workshop aims at promoting scientific and artistic collaborations within this inter-disciplinary boundary. It will offer opportunities to disseminate emerging research works through presentations, demonstrations, and group discussions.

= Suggested Topics


  * Expressive movement-based interaction

  * Machine learning for movement 

  * Modeling movement qualities

  * Gestural control

  * Movement generation 

  * Movement and sound interaction

  * Sensori-motor learning with audio/visual feedback

  * Embodied cognition and movement 

  * Visualizing movement 

  * Modeling kinaesthetic empathy 

  * Somatic practice and design 

  * Whole-body interaction

  * Expressive movement analysis and synthesis

  * Design for movement in digital art 

  * Semantic models for movement representation

  * Laban Movement Studies and computation

  * Dance and neuroscience

  * Biosensing, biocontrol and movement

  * Movement expression in avatar, artificial agents, virtual humans or robots.

  * Music and movement

  * Movement computation in ergonomics, sports, and health

= Participation to the workshop


The workshop is an opportunity to present a research or a collaborative work. Participants will have the possibility to make a presentation of the results of their research on one of the themes of the workshop, and to interact with their scientific, artistic peers, in a friendly and constructive environment.

If you are interested in an oral presentation of your work, please submit a paper and/or a demo and/or a poster.  

= Submission


The submission categories are:

  • Long paper with oral presentation (8 pages maximum) 
  • Research note with oral presentation (4 pages maximum)
  • Short paper with poster presentation (2 pages maximum)
  • Short paper with demonstration (2 pages maximum+ Demo proposal form + link to a video).

All submissions should be PDF and use the MOCO’15 template – adapted from ACM SIGCHI template

Authors of long papers and notes are also invited to propose a demonstration of their system and its use. All demos must be submitted separately. They have to provide the demo proposal form and a link to a video about the work. The demo proposal form is mandatory for all demo submissions and must include technical set-up and space requirements.

Online submission: All submissions must be done through EasyChair

All submission must be anonymous and will be peer-reviewed. The MOCO proceedings will be indexed and published in the ACM digital library.  

= Important Dates:

Submission deadline: 1st of March 2015 (5:00pm PST)

Notification: 1st of May 2015

Early bird registration: 1st june 2015

Early program: 31st June 2015

= Venue


Simon Fraser University, Woodward's, 

Goldcorp Centre for the Arts, 149 West Hastings Street, Vancouver Canada.

MOCO15 will be  co-located with ISEA2015 (

= Workshop Chairs


  * Thecla Schiphorst, SIAT, SFU, Vancouver, Canada

  * Philippe Pasquier, SIAT, SFU, Vancouver, Canada

  * Sarah Fdili Alaoui, SIAT, SFU, Vancouver, Canada

  * Frederic Bevilacqua, Ircam, Paris, France

  * Jules Françoise, Ircam, Paris, France

Contact email:

= Local Organization Committee


> School of Interactive Arts and Technology

  * Thecla Schiphorst, SIAT, SFU, Vancouver, Canada

  * Philippe Pasquier, SIAT, SFU, Vancouver, Canada

  * Sarah Fdili Alaoui, SIAT, SFU, Vancouver, Canada

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A worldwide call for projects made via Ars Electronica’s online submission tool will be open from mid of December till 9th of February, 2015. The submitting artists have the chance to win a residency at the European Southern Observatory (ESO) in Chile. There is free access to the application process by all interested artists.

Interdisciplinarity, digital creativity and intercultural exchange are the three key criteria for artists submitting to the open call.

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The Summer Program provides a unique opportunity to observe the development and performance methodologies of Robert Wilson and his collaborators; to work with established professionals in the international performing arts world; to forge relationships with artists from a broad range of experience levels and disciplines; to develop networks of US and international professional contacts; and to investigate what it means to be a “global artist.”


Summer Program participants receive access to an extensive collection of resources central to the Watermill experience: daily meetings with Robert Wilson; lectures on subjects including theater and opera innovation, installation, design, and science led by international cultural luminaries, established artists and scientists; opportunities to propose and develop new work for public presentation during the annual Watermill Summer Benefit and Discover Watermill Day; 20,000 square feet of rehearsal/design spaces and outdoor stages; a theater production archive; an extensive physical and digital library; the Watermill Art Collection; and the Center's landscaped grounds. Additionally, participants have an opportunity to audition for Robert Wilson's summer staging rehearsals and to take part in workshops with his collaborators.

Application Deadline

Wednesday, March 4, 2015 at 5pm EST

Program Dates

The Watermill Center 2015 International Summer Program will run from:

July 13 to August 16, 2015.

more information

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A worldwide call for projects made via Ars Electronica’s online submission tool will be open from mid of December till 9th of February, 2015. The submitting artists have the chance to win a residency at the European Southern Observatory (ESO) in Chile. There is free access to the application process by all interested artists.

Interdisciplinarity, digital creativity and intercultural exchange are the three key criteria for artists submitting to the open call.

We are looking for digital artists who will be truly inspired by ESO, showing their wish to engage with the ideas and with ESO as places of scientific collaboration, using them as springboards of the imagination which dare to go beyond the paradigm.


You might be a choreographer, performer, visual artist, film maker or a composer – what you all have in common is that you use the digital as the means of making your work and/or the way of presenting it.

Deadline: 9th February, 2015

more information

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Julia Barnes viola player composer about the initiative: 

"Dear friends,

MAPA is a magnet for talent and dedicated theater makers, musicians and upcoming artistic directors who want to make a difference. This is a physical approach to learning, including building up the performance space, use of light as an integral element of performance, being involved in every aspect of creating and bringing performance to audience. For me as a performing musician seeking ways to bring music out of box to reach out to more people, the lessons have been exciting. As a teacher I value the interaction of all members of the group in looking at the whole–the whole composition, the connection with audience, the practical aspects. No divas here, but a group of talented performers who create together from their unique talents.
In supporting MAPA you support a growing collective of international artists who will use the skills they learn here to enrich the world, starting in Haarlem! The first gift they have given is redeeming a disused and neglected piece of property, making it into a beautiful podium and theater school.

My wishes for a beautiful holiday season and a good 2015,

Julia Barnes
ps if you are unable to be a sponsor, please send this on to someone who may be!"

Here is the link:

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Repetition + Adaptation = Truth

On November 19, I attended Vida Midgelow‘s lecture and post-discussion “Dance Improvisation as Research: Liquid Knowing and Languaging” with OSU cohorts and faculty (I consider them “cohorts” in ways) and was sparked as thought fanned questions. Some of the language from her felt sense turned voice dripped over me like warm oil, running down, finding spaces of dry flesh to slick. Others hung in the air and didn’t approach my skin to sink in. There was discussion after about the liquiding of knowledge – how it is a violent process – as disruption of a solid to become a liquid can be thought of – so that a certain knowing, which is thought to be solid, may run through our bodies as liquid. Ok.
But what of the ether? What of the knowledge that is felt to be like air? Liquiding this knowledge is a much different process. The knowing which we do not have language for is said to be in the ether. It is for the interest of liquidating and languaging this knowledge that I proceed. It reminds me of something Lyndsey said to me, I paraphrase: “maybe for you it’s about learning new language”. 
During the post-discussion we bleed self-reflection like reflex.
The circle sees something. But what is it?
False dichotomies run through my awareness on into the night:
Self- Other

Space-In Between Space
Finding-Losing Oneself
The way of this or that.
Seems to me that all things can explain/correlate/equate/negate one another.
This is that, as it is not.
So now what?
Move. Even sitting here. feel the movement of thought. the blood in the veins, the juice in the hips. pleasure yourself as these fingers stroke the keys and learning cums.
Ok, so for example there is pleasure and there is pain, in an endless spectrum but i am unable to think of any other occupier. The spectrum i see is linear. Pleasure at one end and pain at the other. Though of course, pleasure and pain often coincide. So it is a circle – yet even a circle is a line curved. Linear. But I know it is  not. There are many other models of choosing. there is the unfeeling. the giving of no fucks. The thinking of cramming of density. emotionless. the style of guts/ the style of gut that is in your face, that is in the place. Be still and see the you in me. What is the void? What is a human, anyway? We are neither this nor that.
Model of dichotomies is false.
We are the *third thing* (a term I borrow from K.J. Holmes), or an infinite number of things, and maybe only one.
Repetition + Adaptation = Truth
(excerpt 11.20.14 |

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