Ian Garrett

More info on The Green Theatre Project at Arcola

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We’ve had a great response from many talented people. More than we expected actually and it has become necessary to go through a short selection process (see message below). The project commences Saturday, April 17 at 2pm at Arcola Theatre. It is for performers, writers, theatre practitioners and generally interested people over 18. The aim is to use theatre to explore a variety of sustainability themes and create a high-quality short performance piece. If you are still interested in being involved here is some more information.

The group will meet over seven weeks, exploring sustainability issues through a variety of theatrical workshops, with the intention of devising a short performance piece. The location and dates of the performances are still to be confirmed. It will mostly likely be an outdoor or site specific performance. It is going to be very much a collaborative process and we welcome input from as many view points as possible. This is the first outing of The Green Theatre Project so there will be a lot of room to play.

Here is an outline of the sessions:

Session 1 – April 17, Arcola (2 -4pm)

  • Intros
  • Idea sharing
  • Short devising session around a theme

Session 2 – April 24, Spitalfields City Farm (2 -4pm)

  • Physical theatre workshop led by Irene Athanassiou
  • Devise short movement sequence
  • Decide on theme of final performance

Session 3 – May 1, Arcola (2 -4pm)

  • Forum theatre workshop led by Rosie Leach
  • Structure and form of final performance decided

Session 4 – May 8, Arcola (2 -4pm)

  • LeCoq workshop led by Skip Theatre (tbc)
  • Workshop potential material for final performance

Session 5 – May 15, Arcola (2 -4pm)

  • Interpreting text workshop (based on an Irish play) led by Cathal Clearly
  • Workshop and rehearse writer’s material for final performance piece

Session 6 – May 22, Arcola (2 -4pm)

  • Workshop and rehearse performance piece

Session 7 – May 29, location to be announced (2 -4pm)

  • Dress rehearsal/possible preview performance

Potential themes: energy usage, resource consumption and distribution, human/nature relationship, interconnectedness, the individual’s behaviour, fair trade, conservation, sustainable agriculture, social sustainability, etc. (These are just possibilities, the group will decide together on what issues they want to explore)

IMPORTANT: If you are interested in being involved, please send us a short paragraph describing what you hope to get out of the project and what you could bring to it. As well as what role(s) you would be interested in for the performance piece (i.e. writer, performer, stage manager, producer, etc) and a contact phone number. In order to be considered for the project we need to receive your email by the end of Tuesday, April 13. We will then let you know who has a place in the group. Please also let us know if you can not make any of the dates. We will be giving priority to people who can make six or more of the seven sessions.

Please note: That although the group is suitable for non-performers, the workshops will require some performance elements within the group.

Thank you for your interest and we look forward to hearing from you!

-Lisa and Rosie

The Green Theatre Project Arcola - greentheatreproject@googlemail.com

Aesthetics, Art, and Politics at University of Helsinki

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Finnish Society for Aesthetics
PO Box 4, FIN-0 0 0 1 4 UNIVERSITY OF HELSINKI
www.estetiikka.fi

“Aesthetics, Art, and Politics,” 6.5.-7.5.2010, University of Helsinki

The Finnish Society for Aesthetics together with the research project Artification and its Impact on Art (http://www.artification.fi/) will arrange a two-day seminar on the theme “Aesthetics, Art, and Politics” from the 6th of May to the 7th of May 2010 at the University of Helsinki. The keynote speaker of the seminar is Professor Aleš Erjavec (Slovenia).

Significant connections between aesthetics, art, and politics continue to exist in the new millennium. However, alongside traditional questions about art’s relationship to politics and the political aspects of aesthetic phenomena, a new set of issues has gradually arisen which are as much a
result of changes occurring in aesthetics and art as they are a result of changes that have recently shaped politics. The criticism that different traditions of contemporary aesthetics have aimed against the idea of “pure aesthetics,” i.e., an aesthetics severed from political considerations, has been widely accepted. But what is the position of aesthetic theories which emphasize the social function of art and aesthetics today? Do the main traditions of contemporary aesthetics any longer manage to account for the current forms that the relationship between aesthetics, art, and politics takes or are novel approaches required for analyzing those connections?

Many other social practices besides art are to a growing extent characterized by features which have traditionally been associated primarily with art. What sorts of aesthetic and political consequences could this process known as “artification” involve? What are the effects of this development, for
example, to the alleged autonomous nature of art or is this supposition a mere fallacy anyway? Different artistic traditions and movements embody different kinds of ideologies. How should one understand the relationship between art and politics in a world where faith in the impact of politics is
increasingly diminishing? Changes of approach in recent art research also provide a new outlook on the theme of the seminar. Do the different research approaches articulate specific views of the connection between aesthetics and politics and what sorts of political underpinnings, if any, could these approaches themselves involve?

ashdenizen: when science meets art … successfully

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Kellie Payne has attended numerous ‘art and science’ events, but in this guest blog she argues that last weekend’s day-long symposiumRising To The Climate Challenge: Artists and Scientists Imagine Tomorrow’s World was particularly successful.

The Tate had paired with the Royal Society to present an impressive line-up of speakers, including artists Lucy Orta, Tomás Saraceno and the eminent land artist Agnes Denes. But its success could be attributed to another reason.

Kellie Payne writes:

Rather than framing the question as: ‘how can artists help scientists communicate climate change?’, last Saturday’s symposium Rising To The Climate Challenge took the view that art and science had two very different perspectives to offer and much could come from their collaborations. Art’s role isn’t simply to reformulate and appealingly package the scientific messages; instead it has a more fundamental exploratory and imaginative role. 

The climate science programme largely reflected the Royal Society’s priorities and included, along with the expected division of adaptation and mitigation a third one, geo-engineering. However, oceanographer and earth scientist Corinne Le Quéré , who introduced the topic, revealed that she was stuck with presenting it because none of the other speakers wanted it. Professor Le Quéré gave a well-balanced presentation comparing the various options’ effectiveness (predicted ˚C temperature change) versus the level of risk.

With more controversial options such as the frightening volcanic method, where artificial volcanoes are created in the atmosphere to reflect and reduce solar radiation, she demonstrated that even this was only a temporary fix. The volcanoes would need to continually be created because as soon as they ceased, CO2 levels in the atmosphere would rapidly return to pre-volcanic levels. A less risky option, managing earth radiation through afforestation was shown to be less effective, with a possible decrease in warming projected at only 1ËšC.

Agnes Denes’ land art was incorporated into the topic of geo-engineering because her large-scale works often drastically alter the landscape. In Finland she created Tree Mountain- A Living Time Capsule, building a conical mountain and planting it with 11,000 trees, and planting and harvesting a wheat field in central Manhattan (Wheatfield: A Confrontation). During her slide show, Denes explained that she likes to investigate the paradoxes of human existence: logic, evolution, time, sound, etc. and believes that by shaping and structuring the future we can control our own evolution.

Tomás Saraceno presented with an infectious energy, bursting with novel, if impractical ideas that included his floating ecosystems.  Saraceno makes bold and imaginative attempts to stretch the boundaries of our conceptions of space and gravity with his experimental floating pods. His presentation was paired nicely with Oxford social scientist Steve Rayner’s on adaptation. He focused on cities of the future and the importance of instituting greater flexibility within existing infrastructures in order to cope with future climate events such as extreme flooding. He admires Saraceno’s work, in particular his innovation with new materials, shapes, and possibilities of new patterns of organisation.

Rayner highlighted three typical art/science interactions. The first was demonstrated by a photograph of a diseased liver cell and represented the mode of seeing beauty in the scientific. The second was art’s influence on science (mainly through science fiction such as HG Wells and Jules Verne), the model of artists stimulating scientists with their work leading to new ideas and discourses. The third – which Rayner thought the most compelling – were the interactions between scientists and artists that occur when artists ‘do science through art’. Essentially, where the borders between the two are eliminated and artists employ scientific methodology in their creations, as demonstrated in Saraceno’s work.

The collaboration between scientific institutions and artists was illustrated in a discussion between the Natural History Museum’sRobert Bloomfield and artist Lucy Orta , whose upcoming exhibition at the Jerwood Gallery Perpetual Amazonia is extensively researched using the NHM’s entomology, botany and palaeontology collections. The exhibition will also be informed by Lucy and her partner Jorge’s expedition to the Peru with Cape Farewell in 2009.  Bloomfield specialises in biodiversity and stressed the importance of the interrelations between climate change and biodiversity loss and ecosystem services.

The event was recorded. Podcasts will be available soon on the Tate website.

via ashdenizen: when science meets art … successfully.

Sustainability and Contemporary Art Symposium Budapest

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Sustainability and Contemporary Art: Hard Realities and the New Materiality
Central European University Budapest
2-6pm 26 March 2009

Janek Simon, Niszczarka

Janek Simon, Niszczarka

Since the last symposium on Sustainability and Contemporary Art held at CEU in February 2008, which took as its subject the Operaist dilemma of ‘Exit or Activism?’ and examined Paulo Virno’s idea of ‘exit’ as the ultimate form of resistance, the world has witnessed an intensifying fight for resources under the Arctic, the rocketing of food and oil prices, the Russian gas crisis, and the systemic failure of international financial institutions. These ‘hard realities’ have caused a switch from concerns of immaterial labour to recognition of the ‘new materiality’ of current circumstances.

This recent turn has been addressed by theorist Slavoj Žižek, who notes that while in the last decades it was ‘trendy to talk about the dominant role of intellectual labour in our post-industrial societies, today materiality appears in an almost vengeful way in all its aspects, from a future struggle for ever-diminishing resources (food, water, energy, minerals) to the degradation of the environment.’ The 2009 edition of Sustainability and Contemporary Art therefore brings together artists, theorists and environmental activists to investigate the implications of ‘hard realities’ and ‘new materiality’ for political action, artistic theory and practice, and sustainable living in the 21st century.

SPEAKERS

Marina Grzinić, Sustainability and Capital

Marina Grzinić is a philosopher, artist and theoretician. She is Professor at the Academy of Fine Arts in Vienna, Institute of Fine Arts, Post Conceptual Art Practices and a researcher at the Institute of Philosophy in Ljubljana. She is a founder of Reartikulacija (Ljubljana) and recently published the book Re-Politicizing art, Theory, Representation and New Media Technology.

Tamás St.Auby, The Subsistence Level Standard Project 1984 W.

Tamás St.Auby was born in 1944 and lives in Budapest. In 1968 he founded IPUT (International Parallel Union of Telecommunications). He was censored for his artistic radicalism, promotion of art strikes and questioning of ideology and forced to leave Hungary in the mid-1970s. Since returning from Geneva in 1991, St.Auby has lectured at the Hungarian University of Fine Arts.

Tadzio Müller, It’s economic growth, stupid! On climate change, mad-eyed moderates and realistic radicals

Tadzio Müller lives in Berlin, where he is active, after many years of being a counterglobalist summit-groupie, in the emerging climate action movement. Having escaped the clutches of (academic) wage labour, he is currently writing a report about ‘green capitalism’ for the Rosa Luxemburg Foundation, and otherwise doing odd translation jobs. He is also an editor of Turbulence – Ideas for Movement

www.turbulence.org.uk

Janek Simon, How to Make a Digital Handwatch at Home

Janek Simon was born in 1977. Studied sociology and psychology at the Jagiellonian University in Cracow. His artistic activity began around 2001. He is author of interactive installations, videos, objects. Simon takes inspiration from computer games, Internet and the archive (in its multiple meanings).

Sebastjan Leban, Silent Weapon of Extermination

Sebastjan Leban is an artist and theoretician from Ljubljana. His artistic practice involves the collaboration with Stas Kleindienst, the group Trie and the group Reartikulacija. He is one of the editors of the journal Reartikulacija and has exhibited in numerous national and international exhibitions, participated in many symposiums and lectures and published texts in several different publications.

Alina Asavei, A Sustainable Aesthetics: Contextual and Ethical Beauty

Alina Asavei is from Romania and currently she is a PhD candidate in Aesthetics (Department of Philosophy, Central European University, Budapest). She works principally in the areas of social philosophy, cultural studies, art and disability, the politics of aesthetics, forms of artistic engagement during and after totalitarian regimes. She published articles in the domain of Art History, Aesthetics and Social and Cultural History.

Alan Watt, Sustainability in the Face of Hard Reality

Alan Watt is a lecturer in environmental philosophy and the development of environmental thought at the Department of Environmental Science and Policy at Central European University.

Maja and Reuben Fowkes The Environmental Impact of Contemporary Art

Maja and Reuben Fowkes are curators and art historians who deal with issues of memory, ecology and translocal exchange.  They have curated and written extensively on the issue of contemporary art and sustainability.

http:// www.translocal.org

The programme of the Symposium on Sustainability and Contemporary Art is devised by Maja and Reuben Fowkes (Translocal.org) and co-organised with the Department of Environmental Sciences and Policy and the Centre for Arts and Culture at Central European University.

For further information and booking details please see the project website:

www.translocal.org/sustainability

Re-nourish | Design Sustainably

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Friends of the CSPA and all around fantastic Resource, Re-Nourish, has this exciting update:

As the Pepsi Refresh Everything competition draws to a close,* the three of us have been doing a ton of talking, reflecting, questioning, and planning (and the occasional heavy drinking). As with our previous foray into the world of social media popularity contests, we’ve been grappling with the question of what is the best approach to accomplish what we’re trying to accomplish? Which is, at it’s most simple, to build an efficient organization tasked with making graphic design a more sustainable industry.

That aim has gotten more complicated as we’ve gone through the planning and strategizing required for grant funding, legal paperwork filing, and so on. While a Refresh Everything grant would have opened a lot of doors for us, we’ve also come to believe that our mission will be best served by now investing our energy into more actionable growth strategies.

The organizational plan

Re-nourish didn’t start with some grand vision of changing the world. We started with three individuals who found each other because of our own inability to find the information we needed to make better decisions about our work. As we started answering our own questions and sharing resources, we realized there are a lot more people who might want and benefit from this information.

Our goal has always been, and remains, to provide good information—independent information—to those of you who want it, and to help you use that information to make better decisions in your design work. To do this effectively, we’ve decided that we must remain independent ourselves. While we’ll continue to work actively in the field as individuals, Re-nourish will become a nonprofit 501(c)3 organization. Being a nonprofit entity will allow us to work with the entire supply chain without the embedded risk of serving a private, commercial interest.

The programming plan

We want to be very careful about how we actually fulfill our mission. We don’t want to reinvent the wheel (there are a ton of incredible organizations who do really great work in this area), and we don’t want to just throw a bunch of stuff against the wall to see what sticks. Because our resources are so limited and our goalposts are so high, we need to work smarter, not harder. To this end, we’ve identified three primary areas of work that we feel will most effectively accomplish our mission:

Education

Deliver reliable, vetted information about sustainable graphic design practice and theory (much of which is still in its infancy) to graphic designers, design students, and educators.

Tools development

Develop practical tools to make integrating this information into day-to-day design work easier.

Idea exchange

Connect designers to their supply chain to facilitate idea exchange, innovation, and thus real change, throughout the industry.

Next Steps

The challenge with all this, which is the same for most young organizations, is that of resources. That we’ve come this far without any formal funding, and with each of us working full time, is a testament to how important this stuff is to each of us. Either that, or it’s a testament to our psychosis.

The Pepsi competition represented an opportunity for us to shift from labor of love to structured organization. It seemed appropriate to choose a platform like Refresh Everything because everything we’ve done so far has been out in the open, with the engaged support of our fans and users. And regardless of where we placed (in the top 5% of projects, it might be worth pointing out), we feel the Pepsi campaign has been incredibly successful.

But now, we turn our attention forward. We’ll be spending the coming weeks writing our articles of incorporation and bylaws, building a board of directors to provide appropriate oversight, and developing specific programming strategies for the short and long term. Once the paperwork is filed, we'll begin a more traditional fundraising program, which will involve both grant seeking and turning to individual donations to help fuel our efforts. We expect this process to be somewhat slow going. We intend to be more consistent in terms of keeping everyone updated on our progress and specific plans. We also want to be very careful about how we handle fundraising, because we don't want to alienate the very people who have already shown us so much dedication and love.

Finally, as always, we want to thank everyone who has lent their support, shared their ideas and opinions, and offered help. Please, please continue to do so. If you would like to be involved in Re-nourish’s organizational growth, please email us at info (at) re-nourish (dot) com. And please, feel free to share your thoughts about this process in the comments below.

*We should point out that because we placed in the top 100 projects, Pepsi has automatically rolled our project into this month's competition. This means that if you'd like to, you're still more than welcome to vote for us each day of March.

via Re-nourish | Design Sustainably.

Green Light: Toward an Art of Evolution

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A book to check out soon…

by George Gessert

Humans have bred plants and animals with an eye to aesthetics for centuries: flowers are selected for colorful blossoms or luxuriant foliage; racehorses are bred for the elegance of their frames. Hybridized plants were first exhibited as fine art in 1936, when the Museum of Modern Art in New York showed Edward Steichen's hybrid delphiniums. Since then, bio art has become a genre; artists work with a variety of living things, including plants, animals, bacteria, slime molds, and fungi. Many commentators have addressed the social and political concerns raised by making art out of living material. In Green Light, however, George Gessert examines the role that aesthetic perception has played in bio art and other interventions in evolution.

Gessert looks at a variety of life forms that humans have helped shape, focusing on plants—the most widely domesticated form of life and the one that has been crucial to his own work as an artist. We learn about Onagadori chickens, bred to have tail feathers twenty or more feet long; pleasure gardens of the Aztecs, cultivated for intoxicating fragrance; Darwin's relationship to the arts; the rise and fall of eugenics; the aesthetic standards promoted by national plant societies; a daffodil that looks like a rose; and praise for weeds and wildflowers. Gessert surveys recent bio art and its accompanying philosophical problems, the “slow art” of plant breeding, and how to create new life that takes into account what we know about ecology, aesthetics, and ourselves.

About the Author

George Gessert is an artist whose work focuses on the overlap between art and genetics. His exhibits often involve plants he has hybridized or documentation of breeding projects. His writings have appeared in Leonardo, Art Papers, Design Issues, Massachusetts Review, Hortus, Best American Essays 2007, Pushcart Prize XXX, and other publications.

April 2010

The MIT Press

A Leonardo Book

ISBN: 0-262-01414-9

192 pp., 30 illus.

__The Leonardo Book Series__.

APInews: Art in Agriculture at Auburn University, Ala.

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This spring, Auburn University continues its annual interdisciplinary series, Art in Agriculture, which brings together artists, designers and scientists to examine a topic related to agriculture, food, the environment or natural resources. This semester’s series is titled, “Reclaiming Ground,” and includes two exhibitions, several workshops for kids and seven lectures. One exhibition combines agriculture and architecture, called “Agritecture,” and another features sustainable designs by students in the Landscape Architecture Program, Design Program and Art Department. The lectures investigate questions such as: What is the role of the artist and designer in society at large? Can ordinary citizens make a difference in their local ecologies? How can a university encourage its students to become involved in their community? Art in Agriculture is jointly hosted by AU’s College of Agriculture, College of Liberal Arts and Department of Art.

via APInews: Art in Agriculture at Auburn University, Ala..

Nevada Museum of Art|Artists | Writers | Environments: A Grant Program

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Teams of visual artists and writers who are U.S. citizens working on art + environment projects anywhere in the world from July 2010 through August 2011 will be eligible to apply for the first A | W | E Grant. Letters of interest must be received via e-mail on or before Friday, April 16, 2010 with invited applications due on or before June 22, 2010. The grant recipients will be announced on or before July 6, 2010.

A | W | E Grants

In 2010 the CA+E is piloting a grant program for visual artists and writers working together in the field. The purpose of the program is to encourage the creation of new art + environment projects that seek to address environmental challenges rather than simply comment on them, to foster deeper and more immediate public awareness of art + environment projects, and to encourage unique field reports of lasting value to scholars and other artists. The intent is for the writer(s) to document, report upon, and/or analyze the work of the artist(s) and its environmental context, not to provide creative responses such as fiction or poetry.

During this first year, one grant of $10,000 will be awarded to a team of artist(s) and writer(s) engaged in art + environment projects. Of particular interest will be those proposals addressing communities stressed by global change. Publication venues by writers can include articles in magazines, journals, or online, and chapters or essays in books, but significant public outreach will be favored.

Eligibility

Eligible teams will include at least one visual artist working in the field and one writer to accompany the artist into the field during the project. Artists can work in any medium, and the writers range from journalists to art historians. The total amount of the award may be divided between the artists and writers in any way they see fit. Funds may be used for travel, per diem, materials, equipment, and other costs, including time to work.

Applications during this first year are open only to artists and writers who are U.S. citizens, although they may work anywhere in the world. In future years we hope to broaden eligibility to artists and writers from other countries.

Application Process, Deadlines, Timeline

Interested artists and/or writers should submit a two-page letter of interest by e-mail on or before Friday, April 16, 2010. Letters should include a brief project description, budget and biographies of the artist(s) and writer(s). Please identify your letter of the artist(s) and writer(s). Please identify your letter of interest in the subject line of the e-mail when submitting as “AWE letter.”

Finalists will be selected by July 6, 2010 and invited to mail in a physical application that will include a longer narrative, budget, documentation of citizenship and previous works, and resumes.

Applications will be due on or before June 22, 2010 with the award announced on or before April 16, 2010. Finalist proposals will be posted on the Museum’s website, as well as that of the award recipient, upon awarding of the grant.

Archives, Exhibitions, Presentations

Finalists’ application materials will not be returned, but become part of the CA+E Archives. Although the artworks and writings of the grant recipients will remain property of their creators, the CA+E will collect related project materials of the funded project for its archives.

Results of the funded project will be exhibited at the Museum, and the recipients of the grant be invited to present their work.

FAQ’s

We strongly suggest that applicants visit the Nevada Museum of Art website and navigate to the Center for Art + Environment pages, and in particular the A | W | E FAQ page for more information. The FAQs may be updated periodically as we receive questions.

Contact

Letters of interest sent via e-mail with the subject line “AWE letter,” as well as any questions, should be directed to Rosalind Bedell, CA+E Manager at Rosalind Bedell or 775.329.3333 ex. 252

Funding

The A | W | E Grant is supported by the The Andy Warhol Foundation for the Visual Arts.

TENDU TV PREMIERES DANCE ON CAMERA FESTIVAL ON HULU

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Worth a look, TenduTV deals with expanding a distributed idea of presentation, now presenting in partnership with Hulu!

Contact: Michelle Brandon Tabnick, (646) 765-4773,  michelle@michelletabnickcommunications.com

TenduTV announces the launch of the digital Dance on Camera Festival on Hulu, at www.hulu.com/network/tendutv. The digital Dance on Camera Festival is an extension of the Dance Films Association’s Dance on Camera Festival (DOCF), which it has produced annually for the last 38 years, the last 14 of which have been co-presented with the Film Society of Lincoln Center.

“This new venture presents an exciting opportunity for dance film artists to expand their audience. The bulk of today’s viewers consume their media digitally. Our partnership with TenduTV widens our distribution while offering an excellent, new venue for our participating artists,” said Deirdre Towers, artistic director of Dance Films Association.

“We’re excited to take this first step forward towards meeting the needs of the dance field. Finally, dance audiences can begin to get the access they eagerly desire. The Dance Films Association is a great partner and we’re looking forward to doing all we can to help them fulfill their mission,” said Marc Kirschner, General Manager of TenduTV.

TenduTV will be adding new films on a regular basis, providing viewers with a diverse range of dance on screen. While the initial films primarily represent contemporary works from prior editions of the festival, the Dance Films Association and TenduTV will also curate focused collections of dance films. Planned themes include “Past Masters,” “Africa” and “Animation.”

The first six films are available now, and feature dancers from some of the dance world’s most renowned companies, including Tanztheater Wuppertal, Frankfurt Ballet, the Metropolitan Opera Ballet and Armitage Gone! Dance.

These films are:

Arcus, a jury prize nominee, DOCF 2004
 directed by Alla Kovgan and Jeff Silva

Arising, from DOCF 2009
 directed and choreographed by Ben Dolphin

Folies D’Espagne, a jury prize nominee, DOCF 2008
 directed by Philip Busier
choreographed by Austin McCormick

Madrugada, from DOCF 2005
 directed by William Morrison
choreographed by Deborah Greenfield

Vanishing Point, DOCF 2009
 directed by Patrick Lovejoy

Wiped, Jury Winner, DOCF 2002
 directed and choreographed by Hans Beenhakker

TenduTV also announced the addition of Cory Greenberg to its advisory board.  Ms. Greenberg is Director of Operations & Special Projects for Alvin Ailey American Dance Theater, as well as Ailey’s in-house counsel.  She received her undergraduate degree cum laude in Art History from Duke University and her law degree from New York University School of Law, where she was an Arthur Garfield Hays Civil Liberties Fellow and a recipient of the Vanderbilt Medal for Public Service.

About TenduTV

Founded in 2008, TenduTV seeks to deliver dance to audiences through the highest quality digital distribution network available to the art form today.  Through TenduTV’s platform partners, dance artists and organizations will be able to transport their vision beyond the physical theater and engage audiences through computers and 200 million digital devices including internet-enabled televisions, portable video players and mobile devices. By empowering artists to connect with audiences on a global scale, TenduTV believes that the dance field can be as strong financially as it is creatively.

About Dance Films Association, Inc.

Dance Films Association, Inc. (DFA) is dedicated to furthering the art of dance film.  Connecting artists and organizations, fostering new works for new audiences, and sharing essential resources, DFA seeks to be a catalyst for innovation in and preservation of dance on camera. DFA was founded by Susan Braun in 1956, and included Ted Shawn, the founder of Jacob’s Pillow, as its charter member, as well as modern dance pioneer Jose Limon and ballerina Alicia Markova as members of its first Board of Directors.  A tireless advocate, Ms. Braun devoted her life to finding, showcasing, preserving dance films and videos until her death in 1995.  Today, DFA seeks to carry on her spirit of creativity and collaboration in a time of extraordinary transformation.

For more information, visit www.dancefilmsassn.org and www.tendu.tv.

APInews: Mary Miss to Keynote 2nd iLand Symposium, N.Y.

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Landscape artist Mary Miss is keynote speaker at the second annual symposium by iLand (interdisciplinary Laboratory for Art, Nature and Dance) in New York City. The March 26-27, 2010, symposium is titled “Connecting to the Urban Environment: Creating embodied and relational approaches to environmental awareness.” Mary Miss developed “City as Living Lab,” a framework for making issues of sustainability tangible through collaboration and the arts. Miss has collaborated with architects, planners, engineers, ecologists and public administrators on projects like creating a temporary memorial around the perimeter of Ground Zero, revealing the history of New York's Union Square Subway station and turning a sewage treatment plant into a public space. The event also features iLand Founder Jennifer Monson, choreographer, who will present her recent work on aquifers and waterways in relation to urban development.

via APInews: Mary Miss to Keynote 2nd iLand Symposium, N.Y..