Sky/Nova:15 will be streaming conversations centered around dance/arts, media/culture, and technology with the occasional absurdity (Arts administrator trading cards? Astronaut ice cream and hover chairs as part of the arts-going experience in 75 years?).  This week Sky/Nova:15 will be microbroadcasting from the 2010 Dance/USA national conference in Washington, D.C. June 16-19.  Expect a handful of special interviews from the ranks of national and international Dancilluminati (dance world rock stars).

Video, live webchat and archived episodes are available at http://www.ustream.tv/channel/skynova15. You can also view via iPhones/Androids by downloading the free Ustream Viewer app.

Here are the “showtimes”:
Wednesday, June 16, 5:15-5:30PM, “Afternoon Anarchy …and Cocktails”
Thursday, June 17, 8:30-8:45AM, Morning Coffee
Thursday, June 17, 6:15-6:30PM, “Afternoon Anarchy …and Cocktails”
Friday, June 18, 8:30-8:45AM, Morning Coffee
Friday, June 18, 5:30-5:45PM, “Afternoon Anarchy …and Cocktails”
Saturday, June 19, 8:30-8:45AM, Morning Coffee (and maybe Mimosas)

Guests and updates will be announced on Twitter via @SkyNova15

WHY CHOREOGRAPHERS SHOULD TWITTER

By Lisa Niedermeyer

I AM ADDICTED TO TWITTER AND HAVE BEEN TRYING TO FIGURE OUT WHY.  It came to me at 2:30 A.M.

I am a choreographer, therefore when it comes to structure that can be experimented with, in seemingly infinite ways…sign me up.

Choreographers who understand the value of SELF-IMPOSED LIMITATIONS will appreciate Twitter’s “micro-blogging” limit of 140 characters. It is a fascinating challenge to communicate something potent, funny or informative in a sentence or less.

INSTANT FEEDBACK.

A definite factor in my addiction is the ability to track (instantly) responses to my posts. We don’t get that as choreographers very often. With bit.ly (a tool that allows you to “shorten, share, and track your links”) I am able to see which posts are duds and which are viral. I’m not saying I want an audience member to immediately tell me if my work engaged them or not, but in this format it is definitely an absorbing factor. 

The Twitter community is world wide. I want a vast range of people to discover my posts about the work I am doing as a choreographer and (hopefully) be interested. Each word inside a twitter post is searchable. You can also utilize keywords by “hashing” in front of them. For example #videodance #nonprofit #freetickets. The challenge is to create multiple posts around a specific “theme” using variations of words and keywords to optimize many different people discovering your feed.

DIFFERING ENTRY POINTS.

Installations, site specific work, and performances that cycle are often playing with differing entry points for the audience into choreography. Twitter feeds are never static, the order of your posts is continuously affected by your community’s simultaneous posts.

Recently I posted an entire dance review in Twitter-bite-sized pieces spread out over the course of 24 hrs, with an active link to the full article in each tweet. For the sake of experimentation I created many pieces of something seemingly out of order/context to see if it engaged one to look for the larger picture.

NEW TOOLS.

Since Twitter has reached critical mass new tools are continously being created for the platform.  Perhaps most intriguing is relative newcomer Twiddeo, video for twitter.

NEW LANGUAGE.   Choreographers are dedicated to experimenting with movement language and are often adept at learning new movement languages thru improvisation (rather than just instruction). To “cyber civilians” Twitter feeds can look like a Wall Street ticker tape or the coding for the Matrix. Don’t let this intimidate you, once you jump in and start improvising, observing, testing the language, you will be confident in no time (or right about 2:30 am after your first Twitter marathon).

Are you a choreographer or media artist? Have you been experimenting with structure on Twitter? What has been successful or interesting for you?  We’d love to hear about your experiences and success stories promoting dance through video on Twitter.

Do you share your original dance videos on twitter?

Share your original dance videos on twitter with us @MovementMediaNY and we’ll Re-tweet (RT)!

Movement Media wants to help increase your online viewing audience by promoting your work.  Feel free to nominate the work of others on Twitter, and we’ll also RT those videos.

If you don’t have videos on Twitter, but you would like to view more video dances, you can follow Movement Media on Twitter to stay current with the artists and videos we feature.

Follow MovementMediaNY on Twitter and stay up-to-date on events such as Movement Media’s screenings, festivals, workshops, and webinars.  You can also stay up-to-date on the weekly videodances and artists we feature on our new Video Dance Channel on YouTube in our  FilmingDance4web Playlists!

As many artists feature their work on YouTube, Movement Media promotes artist videos on our YouTube channel as well.  Contact us to let us know about YouTube videos that we could feature for you.  Share your own dance promo videos, your videodances, or nominate other videodances you’ve seen on YouTube to share with our online audience.

On FilmingDance4web, we feature dancers, dance companies, choreographers, film directors, video artists, and animation in our playlists.  Playlists inlcude Movement Media’s Favorite Videodances, Featured Artists, Featured Countries, Cheap Digital Recorder Art, Cell Phone Videodances, Aerial Dance, Gymnastics & Acrobatics, Trampoline, Fire performers, and more.  We celebrate all forms of dance and videodances.  Tune in and enjoy!

We look forward to sharing your videos through Retweets and showcasing your work on our YouTube Video Dance Channel, FilmingDance4web.

What do dancers need?

Many dancers want to post their own dance videos online for self-promotion and need help finding equipment for filming.  For example, if a dancer doesn’t have a video recorder yet, they may want one, or other equipment to help them get creative.

Here are 5 different gift suggestions (with links and and reviews on equipment) from seasoned Cameraman, Ron Kienhuis.

1.  Video Digital Recorders

Digital Recorder by Zoom.  Most camcorders (especially cheap ones) have horrible sound recording features, or are AGC (non manually adjustable).  If audio is important to you, here’s a Digital Recorder by Zoom (known for the H2 and H4n) that does video!  It’s very affordable at $249.00.  http://www.discmakers.com/duplicators/peripherals/zoomq3.asp

Other multi-purpose recording devices are Digital Still Cameras with video capabilities.  Here the choices are endless.  Almost every manufacturer makes them in all price ranges.  The most useful would be a camera with a Wide Angle lens and low light capabilities.
Canon’s Power Shot S90 for $429.99.  http://tinyurl.com/yfyxxe5
Panasonic’s Lumix DMC-LX3 for $469.00.  http://tinyurl.com/6zyxpo

At the same time nearly all Video Cameras can take stills, some at the same time as recording video.  One of the last tape based cameras is the Canon HV-40. It has the capabilities to shoot 24P the infamous “Cinema” look.
Canon VIXIA HV-40 for $699.00.  http://tinyurl.com/yarxynk

Flip Video Camera.  Easy to use, and affordable.  It costs $159.00.  http://tinyurl.com/yej764v

Video Enabled Cell Phone or Music Player.  Try Apple’s iPhone or iPod Nano.  A simple way to record video is with a 3G iPhone or the new Apple Nano iPod.

iphone 3GS 32GB starting at $299.00. http://tinyurl.com/rbwkab.

ipod Nano 8GB at $149.00 and ipod Nano 16GB at $179.00. http://www.apple.com/ipodnano/

2. Creative Filming Options

Here are some fun cameras to try some different types of shots.

Waterproof Camera.  Want to shoot near the water, or in it?!! Then you’ll need a waterproof camera.  Check out the Sanyo XACHI VPC-E2 Digital Camcorder and Digital Camera beginning at 169.99  http://tinyurl.com/ycsyyfo

A Pet’s Eye View camera for only $49.99.

http://www.thinkgeek.com/electronics/cameras-photography/afbc/

3. Tripods and Camera Applications

GorillaCam Camera Application. Prefer to have a video recorded that affords you steady and level shots?  Gorillacam is an iphone app that works with your camera to improve your camera capabilities.  It includes a self-timer for self-portraits and group shots, and time-lapse photography, and other features for  FREE.  Read more here.  http://joby.com/gorillacam/

GorillaMobile Flexible Tripods.  When cell phones and some video recorders do not have ways to attach a tripod you need to rely on a friend to operate it unless you buy a tripod that can do the job.  A GorillaMobile is a flexible tripod with a custom-designed iphone case for $39.95.   You can also purchase GorillaPod for regular cameras for a cost of $21.95.  http://joby.com/gorillapod

4. Micro Projectors

(Brief review of the first 3 products made)

Optoma Pico Projector.  A video projector so small, you can carry it in your pocket. Then, when it’s time for a little entertainment, you can whip it out, connect it to your iPod or iPhone, and project your videos onto a nearby wall, ceiling or airplane seat back–a far more satisfying experience than watching the movie on a little two-inch screen.

The Optoma projector is aimed almost exclusively at iPods, iPhones and other smartphones that can play video, along with video sources that have RCA cables–the red/white/yellow cable set–like camcorders, DVD players, game consoles, digital cameras and other sources.  But you can’t connect it to a laptop (for spur-of-the-boardroom PowerPoint presentations, for example).  The Optoma projects iPhone videos effortlessly–but not photos.  It is sold in most retail stores ranging from $229-$400.  As these mini projectors are new to the market, the costs vary considerably depending on where one purchases the product.   http://tinyurl.com/c7q28k

3M’s Micro Professional Projector, the MPro110.  The 3M Micro Professional Projector MPro110 costs about $359.00.  It’s about the same size as Optoma (2 x .9 x 4.5 inches), but it’s not quite as bright; it tops out at about six feet from your “screen,” casting an image about 40 inches diagonally. And whereas the Optoma projector has a tiny, feeble built-in speaker, the 3M has none at all.  If you plan to use it for movies, you’ll also have to plan to connect headphones or speakers.

The 3M projector, on the other hand, is the only micro projector so far that accepts a standard laptop video signal (it has a VGA connector). On one hand, it may seem a little silly to use a micro projector for a laptop; in the end, the projected image isn’t all THAT much larger than the laptop’s own screen. Still, it can make the difference between showing your slides to three people and showing them to eight people.  The 3M also accepts input from RCA cables, just like the Optoma.  http://www.3m.com/mpro/news.html

Aiptek’s PocketCinema V10.  The Aiptek PocketCinema V10 takes yet a third approach.  Whereas the Optoma seems made in heaven for iPods and iPhones (and comes with the proper cable), and the 3M is a better bet for laptops, the Aiptek has a slot for a memory card, and, more intriguingly, 1 gigabyte of built-in storage.

In other words, you can carry this thing around without any other equipment at all, preloaded, ready to make your elevator pitch at any time, without having to connect or set up anything. (You do have to convert your pictures and movies to the projector’s preferred formats, which can be a pain.)

Connecting a laptop is pretty much hopeless unless it has either RCA or S-Video connectors, both of which are rare on laptops these days, or a VGA-to-RCA adapter. (Once again, any video source with RCA cables will work.)

The PocketCinema ($249.00-$300) is bigger than the other projectors (4.9 x 2.1 x 0.9), but it’s the only one with a decent speaker, a remote and a tripod. (Maximum image and distance: 42-inch image, 5 feet away.) http://tinyurl.com/y9rfggu

5. Speakers

For rehearsals how about a set of portable speakers for your iPhone?  These portable speakers cost $49.99.
http://www.dlo.com/products/view/portspeakers_universal

Or turn your iPod into a boombox.  Prices range from $14.00 to $100.
http://www.nextag.com/ipod-portable-speakers/stores-html

Good luck with your holiday shopping.  We hope these gift suggestions were helpful!  Happy Winter Solstice everyone and Merry Christmas!

Thursday, November 5th, 1:00-2:00pm (EST) Webinar fee: $18

Register here: http://pentacle.org/movement_media_artists_services.asp#workshops

Online fundraising doesn’t have to be hard.  Whether you’re raising money from hundreds of supporters or just friends and family, learning how to design and promote your dance or film project online lets you fundraise quickly and effectively.

Dancer and choreographer, Benjamin Ford Asriel (http://www.basriel.com) presents a Webinar designed to help dancers learn how to creatively utilize the Internet to raise money for their dance and dance film projects.

Benjamin’s ‘Project Paper Trail’ is a choreography project and fundraising blog that has currently raised over $9,000 through online donations.  The one hour Webinar will take place in real time, so that you will have ample time to ask questions and get feedback from Benjamin.

click here to register!

Benjamin will discuss his success with his fundraising project, ‘Project Paper Trail’ .  Hear about the different types of donors his project attracted, and how his funding project became so successful.

Learn how artists can build wider, more engaged audiences and new models to generate support.  Open discussion will be part of the Webinar, so you will have time to ask questions or discuss ideas about online fundraising campaigns for your artistic work!

We look forward to seeing you at the Webinar on November 5th.

Benjamin Ford Asriel posts 'Project Paper Trail' online for viewers

Thank you to everyone who submitted a video for this week’s theme of “Public or Private.”  We were thrilled with the interest and enthusiasm that the exploration of this theme sparked.  Next week’s theme is “Pop Dance Phenomenon”.  For this theme we are asking you to nominate your favorite Youtube viral dance hit, rather than submit a work of your own (unless you happen to be the hit-maker!).  All nominations are due by July 21st, and the contest winners will be announced on July 24th.  Please scroll to the bottom of this post for more information.

This week’s winning videos are:

“Pretending to be Something, Now Coming from Nothing” by Adam McKinney and Agulhas Theatre Works representing our Public category

Click here to view the embedded video.

“Eye Vanish” by Marisa C. Hayes representing our Private category

Click here to view the embedded video.

Public or Private
As the use of social media networks continues to rise, individual’s privacy has become increasingly difficult to maintain. A huge trend on YouTube are private dances captured on video and then posted for public viewing. On the other hand, public performances not before possible, such as a site-specific work filmed in the middle of the desert, can subsequently be put online and viewed by millions. As we watched the submissions for this weeks theme, it became obvious that the formerly clear distinction between private and public is now totally ambiguous. Nearly all of the submissions could have easily fit into both categories. Ultimately, we chose two videos that we felt most strongly embraced each category.

Public: “Pretending to be Something, Now Coming from Nothing”
Adam McKinney and Agulhas Theatre Works’ “Pretending to be Something, Now Coming from Nothing,” captured the essence of a public work because it documents events performed for audiences in their native South Africa. This touching video draws attention to people who are not usually in the public eye, and generally ignored by society. Able-bodied and disabled dancers perform fluidly side by side on stages ranging from an abandoned drug house in a shanty town to a modern dance performance venue. The video evokes a sense of comradery through movement. By weaving the performances together through editing, it shows that beauty can be found everywhere, if one just gives it an opportunity to be seen.

More about Adam McKinney and this project: http://www.dnaworks.org/

Private: “Eye Vanish”
Originally created for the Moscow Outdoor Video Festival, Marisa C. Hayes’ “Eye Vanish” is a poetic and concise visualization of how new technological mediums have led us to question and alter our sense of privacy. By using a web cam, a very personal communication channel, Hayes explores where or even if a separation can be established between private and public. The dancer seems to be performing for us, the voyeurs behind the camera’s lens. Her movements are curious and deliberate, as she chooses what to reveal. In the end, she tries to break through to see into the eye that is watching her. Her eye and the camera’s eye merge and obliterate each other in a futile attempt to know what the other sees.

More about Marisa C. Hayes: http://www.marisahayes.com

Please leave us a comment, and let us know what you think about private and public, this week’s winners, and anything else you’d like to share!

Next Week’s Theme for Movement Media’s Online Video Dance Contest:
Theme: Pop Dance Phenomenon
Submissions are due by Tuesday July 21st.
Winners will be announced on Move the Frame on Friday July 24th.

As technological advancements continue to create seismic shifts in society and culture, Youtube has emerged as the new hit-maker of today. Videos by amateurs and professionals alike that would never be shown on TV are discovered all the time, and spread like tidal waves through virtual word of mouth. Video killed the radio star, and now YouTube is killing the MTV star.

In dedication to the King of Pop himself, who’s music videos defined a generation and inspired dozens of YouTube hits alone (remember the Philipino Prisoners’ “Thriller”?), for this theme, we would like you to nominate your favorite viral dance video.  What pop dance phenomenon has captured your attention?  Do you love the “Where the hell is Matt” video? Perhaps your favorite is the “T-Mobile dance.”  Whatever your favorite video may be, pass it along to us to we can showcase it on next week’s blog.  We’re excited to see your nominations.

HOW TO SUBMIT

* Submissions may be made by anyone – artists, film makers, and anyone who knows of online videos that fit the weekly themes.
* The video submitted must be under 10 minutes long.
* Pick/Submit one video to represent only one of the weekly themes.
* Send the link of the video to Movement Media
* The video submitted needs to be embeddable, ie hosted on YouTube or another sharable online video platform.
* Include a short biography/artist statement (if it is your work).
* For every submission, include a short summary that describes why you have chosen a particular video for the contest and describe how it relates to the weekly theme.
* Include a brief synopsis of the video.
* Include a link to your website (if you have one)
* Include your email address

Email all information to movementmedia@pentacle.org
If your submission is chosen for the weekly contest, we will contact you directly.

Impetus for Contest Participants

* Have your videos seen by an online audience who’s interested in movement-based video.
* Receive publicity for your work/work of others
* Receive comments and feedback
* Automatic consideration for live screening at Kinetic Cinema in NYC.
* Automatic consideration for UMOVE, Movement Media’s Online Dance Film Festival in October 2009.

UP-COMING THEMES FOR JULY:

The final week of July will be guest curated by Doug Fox of Greatdance.com.

In August, we are seeking submissions for the First Annual UMOVE Online Videodance Festival! Please see submission details here: http://movetheframe.wordpress.com/umove-festival/

Pentacle’s Movement Media announces the First Annual UMOVE Online Videodance Festival from October 1-31, 2009 on the web and at select screening locations across the US and around the world in 2009-10.

UMOVE Vision Statement:

The medium of video has exploded on the web, and consequently, the web video format for dance and kinetic-based films is erupting within the media arts.

The web format has its own set of characteristics and conventions, and makes it possible for all disciplines and levels of film-makers to showcase their work.  Movement Media’s goals are to highlight new works and assist Internet audiences in finding artist’s videos specifically dedicated to movement and dance. We also aim to challenge film-makers and audiences regarding their ideas of what dance film or movement media can be.

To date, the web format for dance and kinetic-based film has been under-recognized and under-valued by dance film presenters and curators.  It’s time to give these videos a platform to receive both feedback and critical praise. We seek work that is strong in concept and execution, rather than sporting fancy production values or large budgets. Film-makers are free to use a variety of high and low tech media to create their work. We welcome work that is visually “moving” on intimate viewing devices such as laptops, mobile phones, and ipods.

Therefore, UMOVE is seeking interesting blends of dance and kinetic-based films that explore the full range and scope of this burgeoning genre.

SUBMISSION DEADLINE: August 15, 2009

If your submission is chosen you will be required to submit digital stills and a finished copy of your video on DVD (NTSC only) for screening and publicity purposes by September 15, 2009. All submissions regardless of selection will be made available for public viewing on our blog, Move the Frame.

UMOVE submission categories

• Animation/Gaming – including digital animation, machinima, Second life, Virtual Reality games.

• Cell phone – videos made using a cell phone.

• Gone in 60 seconds – videos under one minute long

• Low/No Budget – videos made for under $1,000

• Surprise me! – unique uses of new media or digital technology

ABOUT THE FESTIVAL

The First Annual UMOVE Online Videodance Festival will take place October 1-31, 2009. The festival will feature short dance and movement-based videos that were made specifically for the web and other new media formats including cell phones, gaming, virtual reality worlds, and mash-ups. In addition to online programming on YouTube and Movement Media’s blog, Move the Frame, the festival will include a launch party and live screenings in New York, Philadelphia, Los Angeles, UK, and other locations to be announced.

UMOVE was started by three dance film-makers: Kriota Willberg, Marta Renzi, and Anna Brady Nuse (Pentacle’s Director of Movement Media) who are passionate about promoting dance film through any means possible. We seek to find the most innovative and engaging dance videos on the web and to highlight rising talent in the field.

October  1st will mark the launch of UMOVE online, and on October 14th there will be a live screening and party in New York after which the festival will tour to select locations around the country and the world in 2009-10.

MISSION & OBJECTIVE
Movement Media’s mission is to provide services, strategies, and opportunities for artists making dance for the camera, and to help dance artists use media to promote and enhance their artistic pursuits.

For more info on Pentacle’s Movement Media project, please visit our blog: Move the Frame and our website: http://pentacle.org/movement-media.asp

GENERAL RULES

All submissions must exist online and be embeddable (i.e., hosted on YouTube or another sharable online video platform). All videos must be under 8 minutes long. Only one video may be submitted per entrant. Student, professional, and amateur film-makers are all encouraged to apply.

Please submit the following materials via email:

• URL address of your video (double check the link works).

• Short biography/artist statement.

• Clearly label which category the submission should be reviewed under (see category list below).

• Brief synopsis of the video.

• Principal Cast and production credits listing

• Include a link to your website (if you have one)

• Include your email address (if different from the one you are sending from).

• Paste in the Terms and Conditions (see below) and type in your signature

• Email all information to movementmedia@pentacle.org

TERMS AND CONDITIONS

• I/we have read all of the rules and regulations for the UMove Online Videodance Festival (hereafter called the “Festival”).

• I/we understand and have complied with these rules.

• I/we warrant the submission of my/our original work and that there are no disputes regarding the ownership of the submission.

• I/we warrant the submitted material does not defame or invade the rights of any person living or dead

• I/we fully indemnify the Festival against any claim made for such violations of law.

• To the best of my/our knowledge, all of the statements herein are true and correct.

• I/we understand that failure to adhere to Festival rules and regulations will result in disqualification.

• I/we hold the Festival harmless from and defend against all claims, demands, losses, damages, judgements, liabilities and expenses (including attorney’s fees) arising out of or in connection with any all claims of third parties, whether or not groundless, based on any film/video submitted to the Festival or on any film/video developed out of such submission.

• By submitting this entry, I agree that the UMove Festival may publicly screen my work as well as use stills and descriptive material in the official program and any other publicity efforts.

• In the event that I am selected as a Finalist, I will provide a finished copy in the format indicated no later than September 15th, 2009.

• I agree to hold the UMOVE Festival harmless in the event of loss or damage to my entry tape or material provided for Festival screening.

The conference was a production of Kaltura (developers of the world’s first full open source online video platform), Yale Internet Society Project, Participatory Culture Foundation (creators of the open source Miro internet TV player) and, in partnership with Mozilla, Red Hat, Creative Commons, Level3, Akamai, the Berkman Center for Internet and Society at Harvard University and more.  In addition to talks from internet luminaries, screenings of video art, and demonstrations of the newest internet video technology, the event served as the inauguration of the Open Video Alliance, an umbrella coalition dedicated to furthering best practices in online video.

Yet as the medium matures, we face a crossroads. Will technology and public policy support a more participatory culture—one that encourages and enables free expression and broader cultural engagement? Or will online video become a glorified TV-on-demand service, a central part of a permissions-based culture? Web video holds tremendous potential, but limits on broadband, playback technology, and fair use threaten to undermine the ability of individuals to engage in dialogues in and around this new media ecosystem.

The world of online video is pretty proprietary, but there are plenty of cool companies working toward widening the playing field and offering viewers more variety, flexibility and interactivity.  Amazing people spoke at the conference, including Clay Shirky, Xeni Jardin from Boing Boing, Yochai Benkler, Jonothan Zittrain and film producer Ted Hope, plus many others talking about the idea of Open Video – the growing movement for transparency, interoperability, and further decentralization in online video, which would provide more fertile ground for independent producers, bottom-up innovation, and greater protection for free speech online.

Now that online video has gone supernova, will its future be shackled by intellectual property and copyright wars and other restrictions? Will it become television on the internet, owned and managed by the few and sold to the many (along with mind-numbing ads)? Or will it evolve to become a more participatory workspace, where suits, artists and surfers alike splice media into open-sourced masterpieces?

I attended a seminar by Ross Harley, “From Open Circuits to Open Video,” in which he argued that the “radical challenges to television, art and culture made by video artists in the 1960s and ’70s find their echo today in the principles of Open Source, Creative Commons, Open Content and other emerging principles of participatory culture.” Starting with quotes from Nam June Paik and moving on to a discussion of the online UbuWeb (“More than mere promotion of artists’ work, it is a global distribution outlet that increases the value of the work,” he said), that video artists can increase their audience by embracing the technological forces their creative ideologies presaged.

He quoted Lawrence Lessig (Founder of Creative Commons), saying, “The more you share something, the more valuable it becomes,” and while that dictum is indeed central to the thinking of many artists, there’s another group that believes differently. There wasn’t enough discussion of the role of scarcity in the creation of some video art’s value, the role of the viewing environment in constructing its meanings (most specifically with regards to site-specific work and videos intended to be viewed in gallery environments), and the way in which a mode of distribution can form part of its actual content. Harley seized on the stated political ideology of a generation of video artists without really examining their social practices, in some cases ingrained Ludditism, and, for some, their resistance to upending traditional support structures. On a more practical note, Harley advocated against YouTube and its corporate terms of use, saying “FLOSS platforms give artists more freedom” and “creators need to use the publishing services that work best for them.”

This report wouldn’t be complete without the mention of “Sita Sings the Blues” by Nina Paley

While I feel we are reaching independent content producers way more than I would have thought at this point, some of the big companies still don’t get it or are afraid of Open Video implications.

Nothing is perfect, but we are off to a really good start. In the end it is up to us to keep the momentum going and eventually produce a better experience within the complete Open Video stack, from content production to delivery. The web was built and exploded around the concept of open technology. Let’s continue to make sure this is the case going forward. The last thing we want is the web to become the domain of a few, with creativity being stifled by restrictions in the non-open parts of the stack.

What kind of future does the Open Video Conference, and all of its bright minds, wish for?

“One where video is ubiquitous,” explained the Open Video Alliance’s media coordinator Adi Kamdar in an e-mail to Wired.com. “Everybody has access to low-cost, or even free, tools and software, and open standards allow all devices to be interoperable. It’s also a future where everybody knows how to manipulate video, and where video is freely created, edited, shared, remixed, quoted and archived. Participation is king and free expression is the norm.”

Whether it’s text, music or video, the future demands digital sharing.  If we have any hopes of success in bringing the general public an understanding of our views on the importance of openness and freedom, forming a larger community with like minded content creators is the next logical step and another piece of the puzzle.

Watch the closing remarks from the first day of the conference and share your thought with us.

If you haven’t read it yet, check out Joan Acocella’s article, “The Faun,” in this week’s New Yorker:

http://www.newyorker.com/talk/2009/06/29/090629ta_talk_acocella

It’s a really interesting article about Christian Comte, a French artist, who makes animations from still images. Recently he chose Vaslav Nijinsky, the much revered Ballet Russe dancer and choreographer, as his subject, and posted what appeared to be film fragments of the artist on YouTube that were never known to exist before. The appearance of the clips sparked a frenzy of excitement and debate among balletomanes and dance historians.

If you go to his YouTube page you can see all the videos he’s made and all the comments users have left. They have said everything from praise for Compte “finding” these videos, to appreciation of him using his talent to finally bring some idea of Nijinsky’s movements to life, as well as reprimands for him fooling them. He does insist that he is not trying to pass his films off as originals, but the confusion is understandable…sometimes.

Here are couple of Comte’s videos:

Click here to view the embedded video.

Click here to view the embedded video.

We’d love to hear your responses to this work and the debate surrounding it.

Click here to view the embedded video.

Capitol Spring 2 by Boris Willis

Boris writes:

Why should artists create a dance vlog? I believe the answer lies in the number of times we have to explain what we do and have little in our culture to point to as an example. We have an opportunity to reach out to the public to show and explain the process of what we do, why we do it and how we feel about it. Here are some tips for you to think about as you make your dance vlogs.

1. Have a vision
   Find a way to make videos that you feel express who you are and what you want to say as a dancer. That being said, don’t just turn on your camera and dance, find a way to make an interesting and exciting video. Look at commercials and other short videos as inspiration.
2. Vlogging is personal and performative
   Make your vlog about you because it is the one subject that you know more about than anyone else. Dance, talk about dance, talk about making dance while you are dancing, dance about making dance.
3. Understand how the web is used
   Just because you have twenty minutes of footage doesn’t mean you should post it all to your vlog. Generally speaking three minutes is the most someone will watch. In other words keep it short, a sixty second video is plenty. As you gain more skills you will be able to make longer videos compelling by the way you edit them. It is always better to leave them wanting more than to bore them. Make stuff that people want to see and make it short enough that they watch it all.
4. Edit
   Learn how to use the tools of video editing. There are free editing tools that come with your computer operating system, Window’s Movie Maker for Window and iMove for the Mac OS. If you want to be able to do more sophisticated editing you can get Final Cut Express for the Mac and Premiere Pro Elements for the PC. For professional level editing you will need something like Premier Pro CS 4 for the PC and Final Cut 6 for the Mac. The great thing about video is that you can take the time to get it right and make your content compelling. However, the most important edit you make is at the end of your video, use a black out when the video is over and put your credits at the end of each video without a blackout so the credits are the last thing your audience sees. That way if your video gets distributed around the web everyone will know its yours.
5. Get the best camera you can afford
   You never know what will become of your work it is always best to get the highest quality video of your original work. When you put it on the web it will get compressed and lose quality but that is what we expect from the web. Having a high quality version for showing offline is a very good idea. I also recommend that you use a camera that records to video tape so that you have a backup. I always shoot in HDV but down-convert to SD to save disk space then compress it to the Quicktime format which eventually gets converted to flash.
6. Find a video host that you like
   I have been in debates about whether it is better to put your videos on Vimeo or YouTube or Blip.tv. There is no reason not to try all three and of any number of others. Just find one that you like. If image quality is what is most important then Vimeo is for you. If ease of distribution is what is most important then Blip.tv is for you. If getting your videos seen by a large number of people then YouTube is the way to go. There are pro’s and con’s for all three services and I use all three and others as well. Once you decided on a host for your videos choose a host for your blog. Blogger and Wordpress are two popular services that give you a variety of tools to enhance your content.
7. Be Consistent
   Follow your vision, update on a regular basis, make videos in manageable viewing times for your audience. You are not going to make money from advertising on your vlog but you can use your vlog as a tool to get work by showcasing your skills as a performer, choreographer, editor and artist. Let your followers know what you are up to especially when you are taking a break. People want to know that when they go to your blog there is regularly new content there that they want to see. Your dance vlog should be fun and informative. You should do it because you enjoy it.
8. Say hello
   How do you get people to follow your vlog? Email your friends, comment on other people’s vlogs, tell people you meet, get cards made. You can get free cards online from Vista Print.
9. Music
   Don’t use copy-written music. Find a musician among your friends or on the web that will let you use their music in exchange for some cross promotion. You can find plenty of music at this url http://www.archive.org/index.php Learn about Creative Commons use and credit the musicians for their work.
10. Describe the videos you make
    Write a description of the videos you post and use tags to help yourself and others find them. It is time consuming at first to describe your work but the value in doing so cannot be underestimated. Describe what you are doing in the video, give the location, who is in the video, when it was done and what the video is about.

-Boris Willis

danceaday.com

Given all the possibilities of dance on screen, choreographers for the camera have a multitude of ways to keep us astonished.  Fortunately, the creative interaction between film technique and dance are endless.  In the emerging field of Cinedance, filmmakers or video artists create works that use dance as raw material, and now, choreographic achievements are being made available to the video artist for artistic exploration.

At the last Kinetic Cinema screening on May 13th at Chez Bushwick, curator Victoria Murphy showed a video by Matt Tarr and Ami Ipapo entitled ‘Little Ease (Outside the Box)’ that was a screen adaptation of Elizabeth Streb’s iconic solo ‘Little Ease’. For the film version of the piece, Streb company member Ami Ipapo reconstructed the choreography off-stage in an urban landscape.  The choreography of the live piece on its own is powerful, but the film was able to capture more action and intensity in the piece. I felt more connected to the dancer by being able to hear her breathing, and see her minute facial expressions as she powerfully pushes through the movements. The film took me “inside the box” with the dancer, and I forgot that I was a voyeur watching a choreographed work, something that rarely happens when watching a live performance. My favorite element of this Cinedance was the artistry in editing together of the shots of choreography, which to me added a new specific cinematic “pulse” to Streb’s dance.

Fortunately, other dance icons are lending their choreographed works to video artists to create cinedances. For instance the Martha Graham Company recently released videos of several dances from Martha Graham’s Clytemnestra to be remashed and reedited by contestants in their Clytemnestra Remash Challenge. The contestants displayed a huge range of styles and approaches to remashing the choreographic material, and all of the contest entries are available for view on the Clytemenestra Remash Challenge website at http://clytemnestraproject.com.

I am a personal fan of taking choreographed works made for the stage out into the world to be performed, so I was very pleased to see so many  video artists take Martha Graham’s choreography and characters into new environments off stage.  To me, it made the characters more appealing and more passionate. As a result, I found myself enjoying and connecting with Graham’s work on another level.   The following submission was my personal favorite in the Remash Contest.

Click here to view the embedded video.

The winners of the Remash Contest for Martha Graham’s Clytemnestra have been announced.  Check out their videos and look at some of the other contestants as well. Voting is still open for the popular choice awards! Regardless of the winners, I am thrilled to see new film-makers responding to choreography and furthering the development of cinedance.

People all over the globe are now able to share and collaborate on artistic works over the Internet. Dance innovators would be wise to tap into these new possibilities and use today’s networked media technologies to make the works of dance masters more accessible. In so doing, like Martha Graham and Elizabeth Streb, they would ensure the cultural significance of their work over time, while also enabling to new works of art to be made and contributing to new developments in cinedance.