Papers by douglas rosenberg
ARJ – Art Research Journal / Revista de Pesquisa em Artes
Entrevista com Douglas Rosenberg por Beatriz Cerbino e Leonel Brum.
Congress on Research in Dance, 2000
Dance for the Camera Symposium (University of Wisconsin-Madison, 9-13 February 2000) The first ev... more Dance for the Camera Symposium (University of Wisconsin-Madison, 9-13 February 2000) The first ever Dance for the Camera Symposium, organized by University of Wisconsin Dance Program professor Douglas
Rosenberg, was an historic gathering that the Internet and projected for the audience had been years in the making.
This paper is co-authored by Claudia Tatinge Nascimento and Jessica Burson.
The International Journal of Screendance, 2017
The International Journal of Screendance, Apr 30, 2018
I t is with great pleasure that we introduce this first edition of The International Journal of S... more I t is with great pleasure that we introduce this first edition of The International Journal of Screendance, and share some thoughts about its intentions and parameters. The journal is a new, peer-reviewed publication; the first-ever scholarly journal dedicated to the growing area of the inter-disciplinary practice of screendance. It is an initiative undertaken by an international group of practitioners, researchers, and activists engaged with screendance, who wish to establish a forum for debate for all those interested in the intersection of dance and the moving image. The International Journal of Screendance is hosted by the University of Wisconsin-Madison under the Parallel Press imprint and will be available in both digital (online) and printed form. The editorial board is formed from members of the International Screendance Network, based at the University of Brighton and funded by the Arts and Humanities Research Council, as well as scholars and artists from related fields of inquiry. Intended as an open international platform, and seeking input and participation from the larger global community, the journal seeks to foster not only a multi-cultural but also a multilingual discourse. To this aim, guest-editors from other cultural regions and adjacent fields of practice and inquiry will be invited to curate future editions of the journal. The journal will engage in rigorous critique grounded in both pre-existing and yet to be articulated methodologies from the fields of dance, performance, visual art, cinema, and media arts, drawing on their practices, technologies, theories, and philosophies, to develop and expand the scholarly debates around the practice of screendance. It will include original scholarship and historically pertinent, yet hard to find writings, as well as specially commissioned articles. Each issue will be edited around a particular set of questions that discuss and reframe current topics in the field of screendance, as a means of promoting and enriching critical dialogue. For the purposes of the journal, we have chosen to use the term screendance to broadly describe a field, while noting that there are no hard and fast criteria for a definition of screendance. Over the history of this art form, there have been a number of terms used to describe the work, often limited to an indication of materiality (e.g. Video-dance, Cinedance or Dance film). The term we have chosen articulates a common denominator between all of the above. Through this journal, we aim to reframe screendance as a form of research that examines the interrelationships of composition, choreographic language, and meanings of body, movement, space, and time; this is done in the context of contemporary cultural debates about artistic agency, practice as theory, and interdisciplinarity. Since the advent of optical media and the moving image, choreographic sensibilities, bodies in motion, and 'dance' have featured prominently within the frame. From Muybridge's motion studies to Eisenstein's groundbreaking cinematic language, via the
The International Journal of Screendance, Feb 12, 2014
The first discussions about the journal took place in a remodeled pigsty behind the house that Ka... more The first discussions about the journal took place in a remodeled pigsty behind the house that Katrina and Simon Fildes share with their children in the countryside of Scotland. She was the organizer, with Fildes and Karl J. Lewin, of the Opensource {videodance} Symposium in Findhorn, Scotland where many important conversations about screendance took place in 2006 and 2007. Those conversations are still resonating globally. This interview took place at the the 2 nd Opensource {videodance} Symposium,
The International Journal of Screendance
No abstract availableOriginally published by Parallel Press, an imprint of the University of Wisc... more No abstract availableOriginally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as The International Journal of Screendance, Volume 2 (2012), Parallel Press. It is made available here with the kind permission of Parallel Press.
Chazen Museum Catalog, 2016
This catalog essay published on the occasion of the University of Wisconsin Art Department Quadre... more This catalog essay published on the occasion of the University of Wisconsin Art Department Quadrennial in 2016. It describes the "pyramidic obligations" of artists who work and teach within academia, those of research, teaching and service. Such boundaries ensure a kind of creative practice that by mandate must mirror the way in which knowledge is created, scaffolded, and vetted
within other disciplines whose methodologies often bear little resemblance to the way that art is traditionally practiced. It frames art as pedagogical by nature, hence the title, Making/Doing: Knowledge as an Embodied Gesture.
International Journal of Screendance, 2020
While in Montreal recently, I had the opportunity to see and experience a profoundly moving video... more While in Montreal recently, I had the opportunity to see and experience a profoundly moving video installation at the Musee Contemporain, by the artist Francis Alÿs. 2 Alÿs' work is poetic, political and often addresses his own quotidian observations of everyday life through performance, sculpture and installation. He describes his practice as "a sort of discursive argument composed of episodes, metaphors, or parables." In Children's Games, the multi-screen installation at Musee Contemporain, Alÿs arrays almost twenty individual films shot and collected since 1999 into a porous tapestry of childhood activities; an inventory or index of children at play shot around the globe. These simple films collectively illuminated the ways in which mostly impoverished children turn everyday objects such as stones, plastic bottles, flying insects, chairs, coins, and stones into games and a sort of interactive universe. What was evident in all the films, was the idea of improvisation and of giving space to one's collaborators in order to create a collective sense of freedom and joy. While wandering through the cinematic landscape created by the work of Alÿs, I began thinking about how we are taught (or instinctively learn) to take turns, and to give space to others so that others may experience something joyful or new in their lives. As artists, we compete throughout our careers; for shows, for space in shows, for reviews and teaching positions, for performance opportunities and grants and for gigs of all kinds. It becomes rote, this competition for space, for a platform from which to speak. However, space like land, is limited and needs to be tended. While it seems there should be enough for everyone, the idea of taking turns or sharing such space has gotten lost both in the metaphoric sense and in reality as well. I've been thinking a lot lately, about what it means to share one's resources, to really share space and things and platforms and opportunities; to be generous in a way that is neither done for one's own edification or attention or for personal gain, but simply as a gesture of recognition. I've been thinking about what it means to be an ally in the arts and beyond and how to do so generously and with an open heart. Advocating for those other than oneself inherently means that an opportunity for visibility may confer to the one we advocate for, rather than to ourselves. This seems to be a foundational and very real fact of generosity.
Performance Research, 1999
Inscribing the Ephemeral Image, 2012
Inscribing the Ephemeral Image, 2012
Inscribing the Ephemeral Image, 2012
Inscribing the Ephemeral Image, 2012
Inscribing the Ephemeral Image, 2012
Inscribing the Ephemeral Image, 2012
Inscribing the Ephemeral Image, 2012
Inscribing the Ephemeral Image, 2012
Volume 1: Upstream Pipelines; Project Management; Design and Construction; Environment; Facilities Integrity Management; Operations and Maintenance; Pipeline Automation and Measurement, 2012
Inscribing the Ephemeral Image, 2012
Leonardo, 2000
Since the advent of the film art form, the author finds, cinema and dance have engaged in an al-m... more Since the advent of the film art form, the author finds, cinema and dance have engaged in an al-most unbroken courtship, each appropriating techniques and styles from the object of affec-tion. A hybrid form, video dance, has resulted; its recording me-dium may be thought of as its site. The architecture of this site provides a distinctive context for the critique
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Papers by douglas rosenberg
Rosenberg, was an historic gathering that the Internet and projected for the audience had been years in the making.
This paper is co-authored by Claudia Tatinge Nascimento and Jessica Burson.
within other disciplines whose methodologies often bear little resemblance to the way that art is traditionally practiced. It frames art as pedagogical by nature, hence the title, Making/Doing: Knowledge as an Embodied Gesture.
Rosenberg, was an historic gathering that the Internet and projected for the audience had been years in the making.
This paper is co-authored by Claudia Tatinge Nascimento and Jessica Burson.
within other disciplines whose methodologies often bear little resemblance to the way that art is traditionally practiced. It frames art as pedagogical by nature, hence the title, Making/Doing: Knowledge as an Embodied Gesture.
a particular kind of humanness that places itself somewhere on the spectrum from sacred to profane. This humanness is performative and has the potential to speak about both democracy and egalitarianism as it both conforms to and reforms the esthetics of
contemporary culture. It is a particular kind of humanness that presents its desires, and that often performs desire; that subverts or inscribes desire; and that states such desires in a way that is part of a new paradigm: one that is caught between the modern world and the
end of art. In a pluralistic world, dance is a subset of a larger art world. And for today, I would like to ask, “What if?” What if we leave behind the grinding economic and quotidian demands of a career in the arts and fanaticize about the possibilities of art? What if, for today, we think about art not as entertainment but rather as something sacred? A kind of
agreement or social contract in which we agree to allow ourselves to be touched, to have our hearts opened to the gracious gifts of the creative spirit? What if art were a gift, an offering of hope, of love and of transcendence?