dear all: this is interesting, Daniel, and after watching your "video chain" - I begin to see what you meant, did you suggest this as an example of a "parkour in video" as well as a collaborative/communal video-dance project? If we now take into account the recent announcement by Dee Reynolds/Matthew Reason (see below) of the issue of "PARTICIPATIONS', which focusses on possible new directions in "social screen dance," how do you figure the audience into such a scenario of parkouring video, say, in the stages of production outdoors where passers-by could pass/cross-over into the dance? and how would an internet audience participate in such parkour? regards Johannes Birringer ________________________________________ Daniel Tércio schreibt: In an article that I published in TeDance, I briefly referred to an experience of something that could be seen as a social engagement on choreographic chain... "... in Move out loud (2008), ideated by Filipe Viegas and Brahim Sourny, and featured at the last edition of Alkantara Festival, in Lisbon. Move out loud develops within the logic of an enlarged collaboration based on procedures resembling the building of a surrealist cadavre exquis, using, in this case, the potential offered by the Internet. The outcome is a chain of human motion capable of crossing frontiers, languages, religions, and socioeconomic differences. " As teacher of "Dance and Multimedia" I usually challenge first year students into a similar process: each group has to follow the previous clip. If you have time, take a look at http://www.viddler.com/explore/tercius/videos/2/ Best regards Daniel Tercio ____[from January 05, 2011] Special Edition of Participations: Screen Dance Audiences. We are pleased to announce a new special issue of Participations, the Journal of Audience and Reception Studies. This special edition includes articles from a variety of perspectives and methodological approaches discussing how audiences watch and engage with dance on screen; does screen dance, a form often articulated in terms of hybridity also promote new, hybrid forms of spectatorship? Edited by Matthew Reason and Dee Reynolds, the special issue includes the following contents: Reason, Matthew & Dee Reynolds (Guest Editors - Special Edition): 'Special Issue Introduction' Bench, Harmony: 'Screendance 2.0: Social Dance-Media' David, Ann: 'Dancing the diasporic dream? Embodied desires and the changing audiences for Bollywood film dance' Pearlman, Karen: 'If a dancing figure falls in the forest and nobody sees her...' Reason, Matthew: 'Thinking about Audiences: a dance film-maker's perspective. An interview with Alex Reuben' Wood, Karen begin_of_the_skype_highlighting end_of_the_skype_highlighting: 'An investigation into audiences' televisual experience of Strictly Come Dancing' You can find the special edition here or visit www.participations.org. -- Dee Reynolds Dee.Reynolds@xxxxxxxxxxxxxxxx http://www.watchingdance.org/ http://watchingdance.ning.com/