[dance-tech] Re: the social in social choreography
- From: Marlon Barrios Solano <unstablelandscape@xxxxxxxxx>
- To: ludmilapimentel@xxxxxxxxxxx
- Date: Wed, 12 Jan 2011 13:06:54 -0500
Hello all,
I am very happy that this discussion is taking place in the two strands:
the social choreography aspect ( will read and comment at the end) and Can
be great to invite Susan Kozel to it!
and
the differences between the platforms (email discussion VS open platforms)
In relation with the second aspect you can actually create a discussion ( on
dance-tech.net) in the Forum and also create a "group" where you can have
one single or several threads.
Also the groups can be by invitation and private (not visible) and by
invitation and public or totally open to anybody and public.
I have to say that in this "list" there is the potential of having more than
400 participants in this discussion. The "focus" is given by the quality
the discussion in itself not by the platform.
One of the main advantages of the web 2.0 is that you can actually get
notifications in your email when you have a new contribution to the thread.
You can also add aspect of hyper media to the discussion: video embedding,
links etc.
I imagine that most of you know that you can use a RSS reader to get any
stream of internet content that is syndicated (Feed) we can organize and
aggregate all the flows of content.
I think that we can extrapolate the topic of this discussion, that we are
actually more "used", habituated to the email format. We are more used to
this more linear "choreography" instead to a more "CLOUD like"
organizational and dynamic "reading".
I think that the in relations with the "Social Choreography" aspect we may
have a more useful approach taking about dynamics in social systems.
Epistemologically, we can see that patterns, pathways, phases,
interactions, iterations. cycles in a space time scales are very useful
analytical devices to understand complexity.
Calling a lost of these phenomena "choreography" in my opinion is
privileging an "it", and its is to dance centric. It is limiting!
I would take a more ecosystemic perspective as a way of undemanding flows,
intensities, couplings, disturbances, self organization, adaptation.
Human cognition embodied and social and the social cognition is augmented
technologically (tools and trainings).
I would not want just to create a "cool" artsy definition too centered in
one discipline to explain, what in my opinion is extremely well articulated
by systemic understanding of humans and non human systems and their
interactions (of course this includes the politics, organizations, the art
market, the universities, media corporation and ideas).
Cheers,
mbs
On Wed, Jan 12, 2011 at 6:42 AM, Ludmila Pimentel <
ludmilapimentel@xxxxxxxxxxx> wrote:
>
> All guys,
>
> I need sometime to read all messages in discussion,
> but as Mr. Biringer I really enjoyed the old version of our list of
> discussion,
> one thing is the social and new format dance-tech,
> and other one is stay in touch by email and mantain discussion between a
> small group...is more private, more specific,
>
> I had save a lot of old post of us, because they contain so good theorical
> discussion for me...
> as now with Mr. Tercio and Birringer...
>
> regards,
>
>
> Ludmila Pimentel
>
>
>
>
>
> ------------------------------
> Date: Tue, 11 Jan 2011 23:50:56 +0000
> Subject: [dance-tech] Re: the social in social choreography
> From: danieltercio@xxxxxxxxx
> To: dance-tech@xxxxxxxxxxxxx
>
>
> Actually, you are giving me some tips and new ideas about that experience I
> supervised. Initially it was a kind of translation into body movements of
> the French surrealistic procedure of "assemblage". Which I combined with the
> youtube sample of Rainer's movement for a collaborative video-dance project.
> But the idea of a parkour looks fine too. Differently of mapping a terrain,
> one may draw trails in the landscape to be danced by different people. Like
> in a procession (- idea to be further explored...)
> In a procession the positions and the status of the performers and the
> spectators are partially interchangeable. Don't you think that web tools are
> stressing this interchangeability?
>
> I am going to take a look to that issue of PARTICIPATIONS.
>
> Meanwhile, the other project I mentioned - Move out Loud - may be accessed
> by http://www.rhiz.eu/artefact-14922-en.html
>
> Best regards
>
> Daniel
>
> On Mon, Jan 10, 2011 at 10:28 PM, Johannes Birringer <
> Johannes.Birringer@xxxxxxxxxxxx> wrote:
>
>
> 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/
>
>
>
>
>
--
Marlon Barrios Solano
On-line Producer/Social Media Specialist
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