Video editing system free horoscope,how do you share vine videos on twitter,marketing management 500 strayer university - For Begninners

Download to obtain the non-exclusive right to use Eezy files to create new, derivative, unique works, however the original Eezy file or artwork must be largely unrecognizable. Offer any Eezy artwork or file for download in any way - whether as is or encased in another or larger work.. For more info, visit our FAQ page, please read our Terms of Use, and visit our Support page to see acceptable examples of uses. It used to be that you had to have a little toolkit of free image editing programs to take care of all the typical needs any visual communicator normally has.
Here below is just a micro selection to some of the most recent online picture editing software that have become available. While limited in scope for now, this is in fact the step in the release of a complete and all-encompassing mini-guide to ALL online image editing tools available. Picture resizing services that let you create a custom profile avatar for social networking sites.
Image resizers which lets you resize multiple pictures simultaneously right from your web browser.
Color extracting tool that lets your extract colors from any image to create color palettes. Photo services that provide image manipulation functions and that are linked to your own Flickr account. XMG Image is an online hosting service for your photos that provides an interface for users to manage, edit, and share their images online. MyPictr is an online photo editing software that provides a picture resizing service to create a custom profile avatar for your favorite social networks.
OnlinePhotoTool is an online photo editor that lets you edit and save images, screenshots and photos online. FaceFilter Live is an online photo editing tool that lets you refine facial images in photos.
Preloadr is a photo editing tool that provides image manipulation functions for those photos you want to upload to Flickr. Cellsea is a web-based service that lets you rotate, resize, and crop photos to get the exact composition and size you need. Fatpaint has more drawing and painting features than any other online graphics application, and it has built-in thousands of graphical resources.
We have worked very hard developing Fatpaint and therefore we are interested in your feedback.
For now, it seems that sumopaint is the only web-app providing professional level tools for digital painters. There was a retrospective of my single screen video dance work as part of the Rotation 03 Festival at the Kiasma Theatre, Helsinki, in association with Helsinki Museum of Contemporary Arts and Finnish National Gallery for Modern Art. This event recognized the achievement to date of a body of work and the evolution of a specific aesthetic and approach to making dance for the screen that has been internationally recognized. My initial impulse to make video dance came when, on graduating from the Laban Centre, London in 1988 with a degree in Dance Theatre, I felt the urge to bring dance to as wide an audience as possible.
Fifteen years later, I remain as inspired and excited by video dance as an artistic medium. I am in no way disheartened by this outcome, for what has also happened over the past 15 years is that video dance has come into its own as an art form and there are now many opportunities beyond television for this kind of work to be funded and seen. One of the benefits of having made most of my work independently is that I have been to a great extent free to explore very particular ideas, lines of enquiry and methods of working, in collaboration with many different choreographers and dancers. From a formal point of view, I found Lucinda Childsa€™ exploration of the effect of repetition on our perception of movement intriguing.
On reading about Yvonne Rainera€™s work, particularly once she had moved from dance to film-making, I related very strongly to her suggestion that we should find alternative structures than simple narrative closure, in which everything in a story ties up and makes sense by the end. After Laban, I went to art-college in Dundee to undertake a post-graduate course in Electronic Imaging. I saw work by video artists like Bill Viola and Gary Hill, which seemed to me to also to take human movement as its subject and through it conveyed the very essence of human existence. By the time I graduated from art-college, I had made my own connections between various artistic practises and had formed a clear idea of the kind of ideas that inspired me. The camera, and its relationship to the human body, is central to my approach to making video dance. Whatever the idea for the work, my choices about how to use the camera are strongly influenced by my belief that at the heart of video dance is the expression of human emotion.
Through the use of close ups and different angles, the camera can take the viewer to places they could not usually reach.
In my experience, it is often the movement of the body parts outside the frame that creates interesting and active viewing.
How the camera moves in relation to the performers is another important aspect of filming dance. However, what I have also discovered is that the carefully choreographed camera can lose out on an important element of dance: the feeling of spontaneity, the energy of the moment, which can make watching someone dance live such an exhilarating experience. When I started out making video dance, I would storyboard everything I planned to film, designing exact shots which explored framing and camera movement in relation to the choreographed dance movement.
In order to redress this, and in an attempt to retain the integrity of the dancersa€™ performance, I started to explore a more fluid approach to making video dance. The idea of improvisation is that those working, in this case the dancers and camera operator, decide how they should move (or how they should film) in the moment. When developing a new video dance work, as the director, I set a series of improvisations with a€?rulesa€™ suggested by knowledge of the possible spatial and motional relationships between camera and dancers.
Shooting on video helps this process immensely, as the performers, camera operator and director can look back at the material and together evaluate the effect of certain decisions and types of movement and how things could tried differently. In the context of making video dance, improvisation can be a misunderstood a€“ and scary a€“ word. Whilst it may be accepted that improvisation could be a valid tool for generating ideas and developing material, when it comes to filming material that will be used in the finished video dance, it is usually thought to be wiser to set and rehearse everything before committing to tape.
In a€?Pacea€™ (1996), dancer and choreographer Marisa Zanotti and I set out to explore ways of conveying energy and speed on screen.
The energy and rawness of a€?Pacea€™ comes very close to what Marisa and I had envisaged and on this basis of this experience, I have continued to use improvisation in many of the video dance works that I have directed.
For example, in one sequence around two minutes into a€?Pacea€™, the camera moves with the dancer, following a triangular floor pattern through the studio. Beyond the new technology and the creative opportunities it offered, a€?Pacea€™ was also the first time that I worked with visual artist and editor Simon Fildes. Each of the twenty or so video dance works that I have directed have been very different in terms of their starting point, who I have been collaborating with and the context in which they were made. At some level, all explore a€?perceptiona€™ and the idea that our understanding and interpretation of an action, relationship or moment in time depends on our point of view and the information we are given. Around three or four years ago, I became particularly interested in developing this idea of how different levels and types of perception, both visual and aural, effect the way in which we understand a situation. In the process of my research, I came across an English company, Touchdown Dance, who work with dancers with visual impairment in the Contact Improvisation form.
In a€?Sense-8a€™, the challenge we set ourselves was to take the viewer in deeper and deeper into the performersa€™ experience.
Perception is also a strong theme in a€?The Trutha€™, which takes as its starting point the widespread use of CCTV or surveillance images by the media and how these are exploited to develop speculative narratives around certain high profile events.
Together we - Kate, Karin, Simon & Katrina - came up with the concept for a€?The Trutha€™. So we approached the choreographers a€“ Fin Walker (UK) and Paulo Ribeiro (Portugal) - to create the movement for us. So, although I did come into the studio as the choreographers were creating the movement and look at the movement though the lens, I did not start to make decisions about how the movement would be framed until the choreography was completed.
The third element of material that runs through a€?The Trutha€™ is the surveillance-style images, set on the concourse of a station. Just as the concept of the film is that the truth can look different depending on your point of view, so the camera and editing offer many different points of view on the same moments. Whilst sharing certain stylistic approaches and techniques with the video dance work, the documentaries a€?Adugnaa€™ and a€?Symphonya€™ differ significantly from the video dance work in terms of intention.
The challenge in making these films was to capture the essence of the incredible work being done by Royston, his colleagues and the people they work with. Another way in which the documentaries differ from the other works is that the choreography existed in its own right and was not created specially for the camera. My ambition is to find and communicate ideas that can only be expressed through this hybrid medium and using a style and syntax that is unique to video dance.
Particularly a longer work like a€?The Trutha€™ demands us to allow ourselves to experience the emotional flow of the work, to look carefully and actively and to suspend our judgement.
What I am more interested in is to take the viewer on an intense emotional journey, one that cannot necessarily be rationalised or explained away in words.
I saw work by video artists like Bill Viola and Gary Hill, which seemed to me to also to take human movement as its subject and through it conveyed the very essence of human existence.A  A touring programme of German video art from the 1980a€™s particularly impressed me. How the camera moves in relation to the performers is another important aspect ofA  filming dance. To buy the DVD Five Video Dances at A?25 including postage and packing you can use the PayPal secure server by clicking here. Hosted by assigned participant players, the Acoustic Live Friday afternoon booth showcases slogged through a constant downpour. I followed them part way, staying inside, next to Jim, the harp player, and Sarah, the fiddler, soaking in their swooping melody lines that helped the song fly. This was my first close-up taste of this phenomenon; an organically formed band whose disparate pieces meshed as if grown together out of the same soil.
The story, however, begins with husband and wife Mark Miller and Beth Jamie Kaufman, who form the main stem from which the banda€™s other tendrils sprouted.
After graduation, Mark went back to Boston, where his degree did not prove to be a job magnet. In spite of an obvious talent in the digital realm, Mark decided to move to San Francisco to become a chiropractor.
At that point, as he said, a€?deep in the purgatory of the transition from the mature and peaceful art of analog tape editing to the nuclear fallout caused by the insertion of the first generation of PCs into the recording studio, I got a random phone call asking if I could write music for a video game. Mark spent the next 10 years building the largest independent studio for video game music and produced soundtracks for more than 100 titles.
Early in this period, Mark and Beth played together in a a€?dismal blues band.a€? She said, a€?It was us and a bunch of musician guys that all worked with Mark in the video game scene out in San Francisco. A job offer from Harmonix brought Mark and Beth back to the East Coast and Mark worked for them leading a€?up to but not including the development and launch of Guitar Hero.a€? Needing out of the game business, he went back for his MBA at Northeastern University. Beth, being very resourceful, managed to find out what the instrument was (a bouzouki a€” leave it to David Lindley), and got Mark one for his next birthday.
In conversation with three of the other band members during our dinner together, I got to see firsthand why these intelligent, articulate, funny people have so much fun making music together and enjoy each othera€™s company off stage as well. Tom Socol is a good guitarist who had played in a lot of bands but hadna€™t played out for a long time. A good friend of theirs, Steve, a professional bassist, a much more serious musician, joined the group for gigs.


One of the places that the band began to play on a steady basis was the Hastings Farmera€™s Market. Another piece fell into place when, similar to what happened with Tom and Ellen, Lou Gesera€™s wife mentioned to Mark that Lou, needing an outlet, played drums. John Neidhart, the bassist, had started off in folk and blues and had gone through a long rock a€™na€™ roll period.
When Tom couldna€™t attend all of the 2010 NERFA Conference, John suggested that Rik fill in at the remaining showcases and jams. John Neidhart, theA  bassist, had started off in folk and blues and had gone through a longA  rock a€™na€™ roll period. Mine still includes great free image editing programs like Photofiltre, Irfanview and DCE, a fantastic trio, which together with Snag-it (paid) I really couldn't do without. Picnik helps you fix underexposed photos, remove red-eye, or apply special effects to your photos. You don't need to install anything on your machine: just upload your picture, resize it online and download it when finished. You need to upload a picture (to achieve the best result, the subject of the photo should look forward), which can either be in JPG or GIF format.
Before sending the images to Flickr, you can modify them with several tools and perform cropping, sharpening, color correction and much more. You can upload images from your computer and from anywhere on the web and edit them freely with the dozens of tools and filters that this tool offers. It's the first Flash based painting program with full support for pressure sensitive Pen Tablets.
Although I was keen to be a choreographer, I was reluctant to make work that, I felt then, would only be seen by other dance enthusiasts at one of the small, dedicated dance theatres in the big cities. These offered a refreshing alternative to the broadcasts of full length ballets a€?livea€™ from the stage at Covent Garden Opera House that then made up the majority of dance on UK television.
What is unexpected is that, of the twenty or so video dance works that I have directed in the intervening decade and a half - and although I have directed many hours of broadcast documentary arts programmes - only one of the video dance works I have made has been commission by and seen on television.
The money to make the majority of my video dance has come from both public and private commissions and the resulting works have been screened all over the world - at festivals and in cinemas, theatres and galleries. This article sets out to describe some aspects of this journey and I hope that it will provide an interesting and illuminating context for the five works a€“ three video dances and two dance documentaries a€“ that are being screened as part of the a€?Rotation 03a€™ festival in Helsinki. Whilst at Laban, I came across the work of the post-modern dance makers, for example, Lucinda Childs, Steve Paxton and Yvonne Rainer. I saw a connection between Childs work and the use of repetition in the music of minimalist such as Steve Reich and Brian Eno, as well as in the dance music that I lost myself in on the dance floor at clubs at the weekend.
To paraphrase Rainer, real life often does not have the comfort of closure and so maybe art should not be so tidy either?
I wanted to make dance for the screen and I realised that, in order to do so, I would need to learn about video production. These experiences where brought to bear on a series of different collaborations and creative environments. With the camera, I try to create an energy that involves the viewer in the movement, allowing them to become an active participant in the action, rather than simply a passive observer.
When I look at movement through the lens, I try to do so as though I am involved in an interaction with the person or people in front of me.
The lens can enter the dancera€™s kinesphere a€“ the personal space that moves with them as they dance a€“ framing the detail of the movement and allowing an intimacy that would be unattainable in a live performance context. The framing I chose often focuses on a detail of movement, frustrating the audiences view of the a€?wholea€™, whilst at the same time creating dynamic and tension within the shot and forcing the viewersa€™ imagination to come into play. The choreographed camera, moving through space in relationship to the dancers, alters our perception of the dance, rendering it three-dimensional and creating a fluid and lively viewing experience.
This dilemma, and the search to find a solution, has also significantly informed my approach to making video dance. However, over time, I began to feel that what was gained in carefully contrived shots was being lost by a certain lack of fluidity and immediacy in the dancersa€™ performance. Over a number of works, and in collaboration with different dancers and choreographers, I began to use structured improvisation as a creative tool. They base this decision on their experience of what they see and feel in the moment, informed to a greater or lesser extent by certain ideas, rules, restrictions or a€?scoresa€™. Through rehearsal and repetition, a vocabulary of framing and movement is built up, forming a palette of video dance material that is then a€?choreographeda€™ in the edit suite. In the process, the dancer and camera really do become dancing partners and a sense of a€?livenessa€™ is captured on tape.
However, in my experience, there is a qualitative difference between the performance of video dance material that has been set exactly and that material which retains elements of improvisation. We were determined to make a video dance work a€“ in this case for broadcast on BBC television a€“ that would have the audience sitting on the edge of their seat. Over a couple of weeks in the studio, Marisa and I developed a series of structured improvisations which were rehearsed and refined until we knew that, come the shooting days, they would generate the type of images we wanted for our video dance. It is through the juxtaposition of different shots and sounds that the work assumes its emotional impact, as characters are revealed through fragments of action and the viewer is drawn through a series of events and states. Firstly, there is editing for the continuity of the live choreography, where the timing and structure of a work originally made for the stage is more or less maintained.
However, it was not until a€?Pacea€™, which was the first time I had the opportunity to use a non-linear digital editing system, that I was really able to push this approach to a new extreme. In the edit, we initially a€?recreateda€™ this journey by montage-ing shots from different takes of that particular improvisation. Each time this sequence is repeated, a number of shots are dropped, until in the end it is made up of only three shots. I very quickly realised that Simona€™s input went way beyond being able to operate the editing software. However, there are certain themes that have remained constant throughout almost all of the works.
They also all incorporate the fact that the interplay between vision and sound has a great impact on our perception of what is happening on the screen. I also started to think of making a video dance work which would communicate whether you could see it, hear it or see and hear it.
Here, my two main areas of interesta€“ improvisation as a creative tool and visual and aural perception a€“ seemed to converge. We hear the dancers describe, to each other and the viewer, what they are seeing, as they move and as they observe. It explores the idea that the same situation can give rise to completely different interpretations, depending on point of view, perspective and other related information. Usually, I will work with a closely with choreographer to evolve a new idea for a video dance. Related to the idea of different interpretations of the same information that is at the core of a€?The Trutha€™, we then decided that it would add interest and intrigue to work with two choreographers, whose vocabularies and styles differ greatly, thereby giving two different versions of events in the choreography.
We asked them to respond to the concept of a€?trutha€™, but we left them in the dark as regards almost every other aspect of the production a€“ location, costume, sound, filming style and soundtrack. Usually I spend a lot of time in the studio with the dancers and choreographer, developing the camera framing and movement as the dancersa€™ movement evolves. Here we see the four characters, appearing to relate a€“ or not to relate a€“ to each other in very different ways.
They challenge us to look again at the same moment a€“ or movement a€“ from a different perspective and to experience how this changes the impact of that moment and the perceived relationship between the characters. They were made as awareness and fund-raising films for Dance United, a UK-based dance development company, headed up by the visionary teacher and choreographer Royston Maldoom. We stove to create two films that contain the factual information that needs to be imparted and whilst at the same time communicate the power and potential of dance as a means of expression and as a tool for social change. However, the approach we took to filming the choreography was to re-structure it entirely for the screen. What we are making is not a dance, nor is it a video of a dance, or even for that matter, simply a video. Because it is screen-based work a€“ and therefore by default associated with television a€“ there is the danger that the expectation is that everything should be obvious straight away and on one viewing and for there to be a sense of narrative closure.
These offered a refreshing alternative to the broadcasts of full length ballets a€?livea€™ from the stage at Covent Garden Opera House that then made up the majority of dance on UK television.A  Now experienced film and television directors and choreographers were being brought together to experiment with movement, cameras and editing and the results were broadcast to audiences that, although perhaps small by prime-time television standards, were inconceivable in a live theatre context. Here, highly textural abstract images, unidentifiable, yet obviously derived from images of human action, were edited using repetition, the sound and image interacting and building up rhythms which I found both compelling and very moving.
Here, my two main areas of interesta€“ improvisation as a creative tool and visual and aural perception a€“ seemed to converge.A  Together with Touchdowna€™s director Katy Dymoke, I developed an idea which would eventually become a€?Sense-8a€™, a video dance commissioned by the Arts Council of England as part of their Capture scheme. The annual Friday afternoon Emerging Artists Showcase, always eagerly anticipated, ran into rough weather.
The author, having gotten drenched twice while dealing with canopy leaks, disgustedly waited it out inside his car, trying to dry off. Tom, the guitarist, and John, the bassist, remained behind me, helping to drive the song on its merry way. Many months later, I would sit down to dinner with the group and learn how they formed and grew together.
She also got involved in musical theater which led to studying and teaching theater, and later, a career in creative education. One exchange captures the disconnect between where he was and what the world was offering: a€?I got one call back from a high school teaching position in religion that did not require a mastera€™s.
Although he says it was a a€?horrible job,a€? it gave him access to the very first personal computer-based digital audio editing system. When he got there, he got hired by Digidesign, the developer of Protools, to support their sales team.
Mark needed something steadier with benefits, so he worked in house first at Sega of America and then at Crystal Dynamics.
At a concert at The House of Blues, Mark and Beth saw David Lindley playing a€?lap slide reggae on somethinga€¦ it had eight strings.a€? It sounded amazing and they were both mesmerized.
When Mark got home from work and saw it, he thought, a€?God thata€™s wonderful!a€¦ Now I have to learn how to play this thing.a€? He picked up a copy of Rise Up Singing. One frequent visitor to the market was Jim Meigs, editor for Popular Mechanics and a blues harpist. He was playing in a cover band and, as a change of pace, was looking for a country band to play with. That went well, and when the banda€™s second CD New Amsterdam was almost done (the first was an EP called In Spite of the Devil), and something was missing, John suggested that Rik come and add some lap steel. Beth sums up the banda€™s spirit in her own terms: a€?Filling our home with music and singing alongside my husband has been a beautiful gift, enriching our relationship tenfold. The annual Friday afternoon Emerging Artists Showcase, always eagerly anticipated, ran into rough weather.A  Torrential downpours almost completely washed the audience off the hill. Although he says it was a a€?horrible job,a€?A  it gave him access to the very first personal computer-based digital audio editing system. Mark had gotten burned out on music during his time in the digital game business and didna€™t go near it for a long time.
Picnik is also integrated with many photo sharing sites and works on Mac, Windows and Linux.


MyPictr gives you enough time (approximately 10 minutes) to download your picture, then your file is automatically removed. Your image will be uploaded to the server and resized, and then any or all of the resized images will be provided in a single convenient view.
The available commands let you change the expression of the portrayed face with great ease. Once you've optimized your photos, you can specify the details about the image and set the proper tags. There are now many individual artists and collaborative teams who have made several video dance works and who, over time, have developed their own unique approaches to making dance for the screen.
Mainly through the books of Sally Banes, and a very few video documentation of performances, I learnt about their revolutionary approaches to making dance in New York in the a€?sixties and a€?seventies.
On visits to the south of Spain, I saw Moorish art that used repetition to create beauty and invoke contemplation. What I had not anticipated was that I would come across a whole different area of art a€“ video art a€“ which, in my view, shared much in common with the post-modern dance practises which had so inspired me.
Whilst the initial starting point for each of the video dance works I have directed may have be different, the work shares common concerns and approaches. In the need to ensure that a pre-planned camera movement could happen or a certain light and framing came into play, fixed points in space needed to be reached by the dancers.
The various sections of the finished work are based on a series of improvisations which explore different relationships between camera and dancer, and the effect of various lenses, framing choices and ways of moving camera in relation to a variety of explorations of movement ideas by the dancer.
The significance of a moment, or movement, is explored as time is slowed down, stretched, speeded up, repeated or stopped by the editing. Secondly, there is the a€?montagea€™ approach, in which shots are taken from different spatial and temporal contexts and are re-ordered, breaking down completely the sequence of the live action and creating a spatial logic and rhythm unique to the video dance work. By using the possibilities offered by this new media, I began to really explore the effect on the perception of time and movement of repeated and altered patterns of montage. When you watch the sequence in the finished video dance, in your minda€™s eye the truncated sequence still covers the same ground as it did when it was made up of the full 12 shots and the performer seems to compete the phrase in a dramatically shorted space of time. He understood the ideas that Marisa and I had been exploring and was able to take them onto new levels through his understanding of editing.
This is something that is often done when a dancer with visual impairment or who cannot see at all, is part of a group of Contact Improvisers. In the case of a€?The Trutha€™, however, it was two dancers, Kate Gowar and Karin Fisher-Potisk, the Artistic Directors of the dancer-run company Ricochet Dance Productions, who approached myself and Simon to make a new video dance work.
It was very exciting for us all that these two talented choreographers embraced the challenged of this very a€?hands offa€™ collaboration with such imagination, understanding and commitment. However, this time it felt important that the choreography should follow its own line of development and be created according to the choreographersa€™ and the dancersa€™ understanding of the characters relationships and interactions.
As video dance progresses, our perception of the relationships between these four characters and their relationship to each other is continually altered by the accumulation of information that we glean through the different scenes and interactions a€“ both a€?choreographeda€™ and a€?reala€™ a€“ that we see the characters involved in. Again, the intention was to capture the essence of the choreographed work and the impact of the dancersa€™ performance. In all the video dance that I have directed, my collaborators and I have tried to make work that, on one level, demands analysis and thought, and on the other, can be enjoyed on an impressionistic or experiential level.
As a young dance-maker, I saw many of these short a€?video dancea€™ works and was inspired and excited by the potential I could see in this new, hybrid medium. Spuyten Duyvil, our first Acoustic Live showcase act of the day, had been one of those acts in Fridaya€™s Emerging Artists Showcase. As the last strains of the blues harp finished the song, Mark swung back into the canopy to change his instrument for the next song.
As soon as he saw Digidesigna€™s 24-track recording studio sitting empty all night, he quit his pre-med classes and ended up running their tech support department through the launch of Protools.
He became chairman of the Interactive Audio Special Interest Group and helped in the development of standards for a whole lot of digital stuff that, described in a€?Markspeak,a€? is not easily translatable in this publication. For a while it was just the four of them, on the porch, playing traditional songs and Marka€™s originals. Mark had gotten to know Lou, and knew that he wouldna€™t join unless he could a€?cut it.a€? Loua€™s ability to soften the sound to fit the banda€™s concept added the perfect touch. Doing overdubs, without previous accompaniment on that instrument, Mark recalled, a€?he tore up this material.a€? Mark recalled saying, with a Cheshire cat grin, a€?This CD just got a whole lot better!a€? Along with Jima€™s Chicago blues harp, it helped to define what the band is about.
Later that evening, the Friday night a€?Most Wanted Song Swapa€? was canceled due to wind-driven sheets of rain. As Beth explains it: a€?It wasna€™t until years laterA that we began to circle back to music again. Not only can you simultaneously generate different sizes, but you can also enlarge your images as well. Moreover, whilst when I started out, I was amongst the first of the so-called a€?hybrida€™ video dance artists, having trained in both dance and the moving image, now in the UK and elsewhere, many undergraduate dance courses offer video dance as an area of both practical and academic study. I was intrigued by the post-modernsa€™ perception of movement as interesting in itself and not necessarily representing anything other than itself and by their presentation of so-called a€?pedestrian movementa€™ as dance. The result often seemed to be that the dancersa€™ movement, and therefore performance, was impeded. For those coming from a narrative film background, where the convention is to work from a pre-written script, improvisation can seem an alien concept, although similar practises have been used by many well-known film-makers. In other cases, such as a€?Pacea€™ and a€?Sense-8a€™, all the material that was used in the final edit was generated through structured improvisation. The narratives that emerge tend to be subtle and intriguing, suggested rather than explained, impressionistic rather than literal. The effect is that the speed of the solo dancera€™s movement seems to increase dramatically as the space closes in. At other times, we catch a€?birda€™s eyea€™ glimpses of the scene from a surveillance-style camera position.
It highlights the fact that we all a€?seea€™ things differently and how our descriptions of what we are seeing and hearing a€“ what we pick up on - reveal a great deal about our perception of our environment. I hoped this would give the dancersa€™ performance an integrity of its own and help to produce a tension between their action and how the viewer then experiences this through the way the camera and the editing interprets and alters the action. A band known for its boisterous spirit, theya€™d played before the remaining dozen or so diehards standing in the rain.
Nevertheless, it was a joy making music with my soon-to-be husband.a€? While still living in California, Mark and Beth got married, with the ceremony taking place back in Brooklyn. However, the industry needed no translation and he received the first Lifetime Achievement Award from the Game Audio Guild. I learned how to play it and Beth and I did a lot of singing together.a€? Additionally, Mark found that playing the old traditional music in the book unlocked something in him and he started to write his own music. After Steve left for California, Mark wanted to find another bassist, happened to be perusing the site and saw Johna€™s information and extended an invitation. This maturing and widening out of video dance means that it has reached the stage where the discussion of the nature of the art form and the support of its continued development can, and must, include very different ways of working, styles of delivery and artistic intentions. I was also struck by their break away from the conventional theatre setting for dance performances.
Dance makers are probably more familiar with the idea of working with improvisation, both as a means of generating material which will then be choreographed and as performance material in its own right. The drama of the chase is then relieved by the gradual introduction of new material, with a very different texture, shape and inherent rhythm.
As the video dance progresses, the camera is drawn closer into the action, until as the viewer you feel as though you too are part of the Contact Improvisation jam.
In the edit for a€?Sense-8a€™, we brought all these elements together, adding layers of sound to the montaged visual material to create one fluid, multi-perspective experience of the dance.
I was fearful that the clouds signaled a trend, but Spuyten Duyvil had some magic up its sleeve.
Wea€™ve uploaded a video of the song to YouTube, that shows the band playing for Alternate Root TV. He studied ethno-musicology and comparative religions but spent most of his time in the electronic music studio recording songs with his band, music for films and music for modern dance.
He recalled that, a€?I had written hundreds of pieces of incidental music and two or three lame attempts at pop music while I was in college. These guys are really good!a€? Then, a€?Hey, they could really use harp on that song!a€? Then, a€?Wow! Six of the seven players took shelter in the front end of the 20-foot space created by our two adjoining canopies. Some part of playing all that old-timey stuff flipped a switch and caused me to start writing stuff that had some meaning.a€? Beth was surprised because she was the one who had gotten into folk music at a young age and never expected Mark to get into the folky stuff. Although both couples were great friends, Tom was apprehensive at first because hea€™d been through some really bad musical matchups and knew there was a potential for a vast difference in their musical tastes and styles. They could really use harp on ALL their songs!a€? Mark remembered that a€?this guy would show up with his tweed case of harmonicas.a€? Jim would strike up conversations with Mark and casually drop hints about his musical involvement. Although both couples were great friends, Tom was apprehensive at first because hea€™d been through some really bad musical matchupsA  and knew there was a potential for a vast difference in their musical tastes and styles. She saw a a€?sexy, tortured musician guy who was anything BUT boyfriend material,a€? but was drawn to him nevertheless. As Beth described it, a€?The more inspired he became to play and write, the more inspired I became to sing again.a€? Mark drew upon the history of the area for the banda€™s name and for inspiration in his writing. However, when he heard gospel-tinged songs and saw no beer being consumed during rehearsal, he became afraid that the band was comprised of Bible-thumping fundamentalists. Several bars into the song, a€?Halfway Free,a€? it became apparent that the skies were benign, under the spell of a benevolent spirit. It wasna€™t until the band lugged a big batch of a€?crafta€? microbrewed beer (a band staple) to a campsite at Falcon Ridge that he relaxed and told them of his misperception. It wasna€™t until the band lugged a big batch ofA  a€?crafta€? microbrewed beer (a band staple) to a campsite at Falcon Ridge that he relaxed and told them of his misperception. Beth remembers, a€?That one time was crazy but so fun!!a€? That would be the last time theya€™d play together for many years. He also introduced them to the next member, Rik Mercaldi, who he thought would be a good fit with the band. The bandleader, Mark, and the lead singer, Beth, cautiously walked out into the sunshine, joining their drummer, Lou, who tastefully played a marching band snare with brushes.
That would be me [the pet].a€? He was joyfully surprised to discover that he enjoyed what Mark was playing.
Mark played a small tenor guitar in a crisply strummed attack and sang and led the group through a sharp uptempo rhythm with tightly executed starts and stops.
Beth did what she always does, belting out each stanza with the ferocity and abandon of a gospel rave-up.



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