MODE05

Technology is the technical means people use to improve their surroundings. It is also a knowledge of using tools and machines to do tasks efficiently.

Technology – some definitions from the net

We use technology to control the world in which we live. Technology is people using knowledge, tools, and systems to make their lives easier and better.

People use technology to imrove their ability to do work. Through technology, people communicate better. Technology allows them to make more and better products. Our buildings are better through the use of technology. We travel in more comfort and speed as a result of technology. Yes, technology is everywhere and can make life better.

To all the participants of mode 05

Dear Friends and Colleges,

whatever your "arguments" for non public work are, ...

The longer it takes to know if there is a public something, the more impossible it gets to come there.
It is of big interest of many others what the discussions are coming to. It cant be the aim to create a internal club which makes discourses, has information and the rest not.
This project you are working on is bigger then the little world of ... i dont know what, and what i think i will not say.
I mean this project is not for itself, it is for the dance world.
It can be easy as people are invited to have a coffee, no big deal. No final version for which you need to decide for only one result. Just open. Or are you scared of something?

Welcome to participate in and to change the graph from Monday. I attach here both pdf and word.
Disco

...phenomenological approaches in art education -
issues of authority and co-operation: the teacher as facilitator and co-thinker - practice-based research nurturing theoretical insights - a flux between theory and practice focusing on EXPERIENCE-IN-ACTION, learning by translating,
negotiating, transforming, reflecting: producing a creative discourse using one's intelligent intellectual capacities - the artist as a self-regulating critical being, able to voice his/her interests within a profit-oriented cultural market

Patricia Woltmann (born 1974) is an independent dance artist, based in London/ recently Berlin. She holds an M.A. in Dance Studies from the Laban Centre London. Patty has worked professionally as a dancer and choreographer in Europe. Currently she is collaborating with choreographer/writer Lizzy LeQuesne, exploring the (e)motional responses around signs and language.
Involvement in dance education: theory and practice-based lecturing/teaching at British and Central European universities. Patty occasionally writes for Dance Zone magazine/Tanecni Zona, published in Prague.

Hm - the only thing I never never tried is dancing ! :-)

Hagens CV

I noticed your event in the blog of Lorenzini
I only want to say hello.
Have a lot of fun !

Hagens Blog

Despite of reflecting the possible shapes and contents of a dance "education" my motivation is also linked to the public/non-public/what means public-discussion that came up. How can a process as a potential and statement in itself meaning any artistic practice or model of education survive in a system of product placement? What are the strategies needed to position one within or outside of or in whatever relation to the other? Is it capitulation to get involved even strategically with it? If this is the case: How can the process be held in procedure if it decides with good reason not to request for the attention of the product orientated institutions that are in charge of the material sources? This is the difference between our internal discussion and the education topic in general.

a friend of mine, Hagen, sent me this:

hagen Posted on 08.03.2005 9:18
concerning mode05:
you could lure them to a *Dance Blogging virtual World*.

At the Galerie Lafayette, Paris, you can participate in an impressive dance event these days, organised by Nike. Such events make the young people crazy.
You should think abaout. At the moment this is managed and under the control of big companies. But the scene of dancers. choreographers etc. could organise such things by themselves as well. There is demand for it ...

Au Lafayette VO :
démonstrations de Ragga Jam
Les mercredis à 15h et les samedis à 17h.

I am referring to Pirkkos statement about how she learned to write: by writing. And how she learned to think critically: by following and rethinking other people's thoughts. In Classical and Modern Dance this is how people are taught to dance, by dancing and by dancing other people's repertoire. In contemporary dance on the other hand it seems to be a taboo to think of this method as valuable.
In Dresden there is a school for writers, they only accept students who are willing to read and reflect. Those who only want to write are encouraged to write, but not in the context of a school.
Schools are not for all upcoming artists, but exactly who benefits from a school and what form of schooling?