{"id":10266,"date":"2009-06-18T17:00:28","date_gmt":"2009-06-18T20:00:28","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=10266"},"modified":"2009-06-18T19:33:20","modified_gmt":"2009-06-18T22:33:20","slug":"plataformas-que-diminuem-distancias","status":"publish","type":"post","link":"https:\/\/idanca.net\/plataformas-que-diminuem-distancias\/","title":{"rendered":"Plataformas que diminuem dist\u00e2ncias | Platforms that shorten distances"},"content":{"rendered":"

Diminuir as dist\u00e2ncias entre os artistas, promover a circula\u00e7\u00e3o de informa\u00e7\u00f5es e a troca de experi\u00eancias profissionais. Com as facilidades tecnol\u00f3gicas cada vez mais a m\u00e3o, os profissionais de dan\u00e7a, performance (e artes em geral) est\u00e3o conseguindo conjugar os verbos a\u00ed da primeira frase com mais facilidade. Multiplicam-se na rede as plataformas virtuais que derrubam as fronteiras entre pa\u00edses e culturas para aproximar pessoas com trabalhos afins que poderiam nunca se cruzar…<\/span><\/p>\n

\u00c9 exatamente isso que prop\u00f5em everybodys toolbox<\/strong><\/a> e o open-frames.net (OF)<\/a><\/strong>. As duas plataformas, criadas na Europa, funcionam como bibliotecas ou arquivos virtuais, onde \u00e9 poss\u00edvel acessar informa\u00e7\u00f5es postadas pelos pr\u00f3prios artistas sobre seus trabalhos. \u00c9 uma forma independente e direta de colocar os criadores em contato uns com os outros.<\/span><\/p>\n

Al\u00e9m de dar ao artista a possibilidade de arquivar seus trabalhos, a everybodys toolbox – criado por Mette Ingvartsen e Alice Chauchat, com apoio do Danish Council – oferece ferramentas de ‘jogos’ e de cria\u00e7\u00e3o de conte\u00fado para incentivar a troca de experi\u00eancias e impress\u00f5es entre os participantes. No Impersonation Game<\/a>, por exemplo, um artista fala sobre seu trabalho, dando todos os detalhes do processo criativo. Depois, seu interlocutor – que deve ser um outro artista – reconta o que ouviu, como se fosse sua a cria\u00e7\u00e3o. O objetivo \u00e9 dar ao autor um olhar exterior sobre o trabalho em quest\u00e3o.<\/span><\/p>\n

Outra interessante ferramenta dispon\u00edvel na plataforma \u00e9 a de self interview<\/a>, onde o artista elabora e responde suas perguntas sobre o processo criativo. O artista brasileiro Neto Machado – que conheceu Mette e o everybodys toolbox durante o projeto 6 months 1 location\/ex.e.r.ce 08<\/em> –\u00a0 experimentou e aprovou a ferramenta. “A autoentrevista \u00e9 uma ferramenta muito \u00fatil para mim em diferentes fases da cria\u00e7\u00e3o. Ela pode ser uma tentativa de organizar os pensamentos espalhados na cabe\u00e7a e nas anota\u00e7\u00f5es, pode ser um registro de algo que j\u00e1 est\u00e1 claro e pode ser tamb\u00e9m uma forma de instigar novas possibilidades que ainda est\u00e3o sem forma. Como sou eu mesmo que me entrevisto, posso encaminhar as quest\u00f5es na dire\u00e7\u00e3o que mais me interessa no momento”, analisa Neto, que usou a plataforma para expor o processo criativo do trabalho Infiltration<\/em><\/strong>. Todas as 20 autoentrevistas publicadas est\u00e3o dispon\u00edveis em formato PDF. Para acessar o arquivo, clique aqui<\/a>.<\/span><\/p>\n

Para Neto, o formato n\u00e3o engessado da plataforma, que traz possibilidades de acrescentar metodologias de discuss\u00e3o do trabalho com os outros artistas \u00e9 o grande trunfo do everybodys toolbox. “Isso cria uma rede de compartilhamento important\u00edssima. \u00c9, sem d\u00favida, uma das coisas que faz essa plataforma ser t\u00e3o importante, principalmente porque o que ela tenta \u00e9 compartilhar processo e n\u00e3o produto. Quem l\u00ea pode usar as ferramentas para descobrir outras coisas, sem ter um modelo definido do que essa ferramenta deveria gerar”, elogia. “A plataforma traz nas suas proposi\u00e7\u00f5es uma pol\u00edtica que vem contra o pensamento do artista g\u00eanio solit\u00e1rio ou da ideia brilhante. Ela \u00e9 uma tentativa de fortalecer o pensamento de que as ideias compartilhadas se fortalecem ao inv\u00e9s de se enfraquecer. Quando compartilho metodologias, compartilho algo que algu\u00e9m pode fazer exatamente da forma como descrevi, mas que com certeza vai gerar diferentes possibilidades”, completa.<\/span><\/p>\n

Promover a aproxima\u00e7\u00e3o de artistas que podem estar desenvolvendo projetos afins tamb\u00e9m \u00e9 o objetivo do open-frames. Aqui, a ideia \u00e9 um pouco mais simples que a da everybodys toolbox: uma plataforma virtual – uma esp\u00e9cie de arquivo aberto – onde os artistas ligados \u00e0 dan\u00e7a e performance postam seus projetos respeitando um determinado padr\u00e3o. No open-frames n\u00e3o h\u00e1 jogos ou ferramentas de intera\u00e7\u00e3o, o principal objetivo \u00e9 o arquivamento de trabalhos.<\/span><\/p>\n

“Buscamos inspira\u00e7\u00e3o em sistemas semian\u00f4nimos como o myspace, facebook, blogcom etc, atr\u00e1s de uma rede online espec\u00edfica para trabalhos de performance. Como resultado, hoje n\u00f3s temos um arquivo que d\u00e1 \u00eanfase \u00e0 facilidade de leitura dos conte\u00fados”, explica Heike Langsdorf, um dos criadores da plataforma.<\/span><\/p>\n

Em tempos de diminui\u00e7\u00e3o das dist\u00e2ncias com ajuda da tecnologia, pipocam projetos inspirados em redes sociais, como o movimento.org<\/a>, uma parceria do idan\u00e7a<\/strong> com a Red Sudamericana de Danza. No caso do OF, no entanto, o objetivo \u00e9 estritamente a troca profissional, n\u00e3o h\u00e1 perfil dos membros. O open-frames \u00e9 a evolu\u00e7\u00e3o natural do projeto Frogs OS, uma rede de artistas profissionais que funcionou entre 2000 e 2008, com sede na B\u00e9lgica e que tamb\u00e9m era capitaneada por Langsdorf. Agora, os 36 trabalhos produzidos pelo Frogs OS est\u00e3o dispon\u00edveis no open-frames. “A decis\u00e3o de criar o open-frames foi uma forma de continuar o que dava certo no Frogs OS enquanto tira vantagem das possibilidades das redes virtuais”, completa Langsdorf, que trabalha em colabora\u00e7\u00e3o com Ula Sickle e Matthieu Collet.<\/span><\/p>\n

O funcionamento da rede \u00e9 simples: basta entrar em contato com os respons\u00e1veis pela administra\u00e7\u00e3o do OF pelo email info@open-frames.net e eles enviar\u00e3o um login de acesso para postar os trabalhos. \u00c9 obrigat\u00f3rio publicar um texto descritivo (em ingl\u00eas) do que ficar\u00e1 online, al\u00e9m de um v\u00eddeo ou at\u00e9 15 imagens. Tamb\u00e9m h\u00e1 a op\u00e7\u00e3o de adicionar um pdf, tour data e de fazer links com outros sites. A pesquisa pode ser feita pelo t\u00edtulo do projeto, nome do artista ou pela natureza do trabalho: arquitetura, dan\u00e7a, performance, instala\u00e7\u00e3o, novas m\u00eddias, fotografia etc.<\/span><\/p>\n

Um dos projetos encontrados no OF \u00e9 a performance Curator’s cut<\/strong><\/em> (foto 2), de 2007, postado pela balletanz. \u00a0O coletivo C&H divide o palco com v\u00e1rios extras como um cachorro, uma planta e um minishow de rock. Tudo em 25 minutos. \u00a0“A cont\u00ednua entrada de trabalhos e a comunica\u00e7\u00e3o entre os artistas e os usu\u00e1rios parece ser o caminho para que o open-frames continue a funcionar conforme sua inten\u00e7\u00e3o original: como um arquivo aberto”, analisa Langsdorf.<\/span><\/p>\n

Leia abaixo a entrevista completa que o idan\u00e7a<\/strong> fez, por email, com Heike Langsdorf:<\/span><\/p>\n

Como o projeto Frogs OS se transformou no open-frames?<\/strong><\/em><\/span><\/p>\n

Frogs OS conscientemente evitou ser uma unidade estruturada, subsidiada ou patrocinada. Ele era uma rede tempor\u00e1ria de pessoas e projetos que tinham como proposta um modo de trabalhar e produzir alternativo.\u00a0 A ideia de iniciar uma rede para criar e apresentar trabalhos – normalmente muito diversos na forma, mas sempre mostrando um tra\u00e7o experimental comum – foi pensada como uma forma de dar visibilidade e credibilidade ao trabalho experimental. A decis\u00e3o de criar o open-frames foi uma forma de de Frogs OS seguir com seus objetivos principais enquanto tira vantagem das possibilidades das redes virtuais. <\/em><\/span><\/p>\n

Como nasceu a ideia de que o open-frames funcione como um “open archive”? A implementa\u00e7\u00e3o do site foi f\u00e1cil? Como foi?<\/strong><\/em><\/span><\/p>\n

Em seus sete anos de funcionamento, Frogs OS produziu in\u00fameros projetos de pesquisa e produ\u00e7\u00f5es que foram continuamente documentados num blog, mas isso nunca foi publicado oficialmente. A sequ\u00eancia l\u00f3gica parecia ser criar uma biblioteca, oferecendo a possibilidade de apresentar e publicar trabalhos. Transformando os outcomes do Frogs OS em arquivos online incentivaria uma crescente (mesmo que limitada) comunidade de usu\u00e1rios. Enquanto est\u00e1vamos desenvolvendo e construindo o site, tomamos o cuidado de n\u00e3o criar mais um f\u00f3rum online exclusivo o que, apesar de sua boa vontade, exige intera\u00e7\u00e3o pessoal grande e se restringe a um c\u00edrculo pequeno de pessoas. Ao contr\u00e1rio, n\u00f3s buscamos inspira\u00e7\u00e3o em sistemas semian\u00f4nimos como o myspace, facebook, blogcom etc, buscando por uma rede online espec\u00edfica para trabalhos de performance. Como resultado, hoje n\u00f3s temos um arquivo que d\u00e1 \u00eanfase ao conte\u00fado e \u00e0 legibilidade do conte\u00fado dos trabalhos. Open-frames n\u00e3o apenas apresenta trabalhos finalizados mas tamb\u00e9m est\u00e1 interessado em comunicar conceitos, estudos e pesquisas.<\/em><\/span><\/p>\n

Open-frames \u00e9 melhor em algum aspecto?<\/strong><\/em><\/span><\/p>\n

Ele n\u00e3o \u00e9 necessariamente melhor que Frogs OS, mas \u00e9 consequentemente mais aberto, j\u00e1 que n\u00e3o possui restri\u00e7\u00f5es f\u00edsicas.<\/em><\/span><\/p>\n

O fato de ser uma comunidade restrita \u00e0s pessoas envolvidas com arte n\u00e3o dificulda o grande p\u00fablico de ter acesso aos trabalhos publicados?<\/strong><\/em><\/span><\/p>\n

Em compara\u00e7\u00e3o com outros arquivos, open-frames adotou um formato raramente encontrado na internet. A maior qualidade do open-frames \u00e9 a limita\u00e7\u00e3o a um espec\u00edfico<\/span> campo cultural, uma limita\u00e7\u00e3o que \u00e9 dif\u00edcil de manter sem a figura cl\u00e1ssica do curador.<\/em><\/span><\/p>\n

Desde 1\u00ba de janeiro open-frames j\u00e1 tem in\u00fameros participantes. O que eles t\u00eam dito sobre essa possibilidade de conex\u00e3o entre artistas?<\/strong><\/em><\/span><\/p>\n

Os participantes parecem estar bastante interessados em conferir a possibilidade de se juntar a uma sele\u00e7\u00e3o de trabalhos e pessoas que eles desejam ser elas mesmas ‘autocuradoras’. Depois de um primeiro momento de entusiasmo e surpresa com o interesse das pessoas, o que n\u00f3s vemos agora \u00e9 uma interessante por\u00e9m problem\u00e1tica quest\u00e3o entre entre qualidade x quantidade. A cont\u00ednua entrada de trabalhos e a comunica\u00e7\u00e3o entre os artistas e os usu\u00e1rios parece ser o caminho para que o open-frames continue a funcionar conforme sua inten\u00e7\u00e3o original: como um arquivo aberto.<\/em><\/span><\/p>\n

To shorten the distance between artists, promote the circulation of information and the exchange of professional experiences. With technological applications at hand, dance, performance (and arts in general) professionals are being able to use the verbs of first sentence more easily. Virtual platforms that bring down the borders between countries and cultures to join people with similar works who could never meet\u2026<\/span><\/p>\n

That\u00b4s exactly what everybodys toolbox<\/strong><\/a> and open-frames.net (OF)<\/a><\/strong> propose. Both platforms, created in Europe, work as virtual libraries or archives, where it is possible to get information posted by the artists themselves about their work. It is an independent and direct way to put creators in contact with each other.<\/span><\/p>\n

Besides giving the artists the possibility to archive their work, everybody\u00b4s toolbox \u2013 created by Mette Ingvartsen and Alice Chauchat, with the support of the Danish Council \u2013 offers tools for \u2018games\u2019 and creation of content to encourage the exchange of experiences and impressions between the participants. In the Impersonation Game<\/a>, for instance, an artist talks about his\/her work, giving every detail of the creative process. Afterwards, the listener \u2013 who should be another artist \u2013 tells what he heard, as if it were his\/her own creation. The goal is to give the author an outside look about a given work. <\/span><\/p>\n

Another interesting tool available in the platform is the self interview<\/a>, where the artist elaborates and answers questions about the creative process. Brazilian artist Neto Machado \u2013 who got to know Mette and everybodys toolbox during the 6 months 1 location\/ex.e.r.ce 08<\/em> project \u2013 tested and approved the tool. \u201cThe self-interview is a very useful tool for me in different stages of creation. It can be an attempt to organize thoughts scattered in my mind and notes, it can be a record of something that is already clear and it can also be a way to instigate new possibilities that are still shapeless. Since I interview myself, I can conduct the questions in the direction that is most interesting at the time\u201d, analyzes Neto, who used the platform to show the creative process of the project Infiltration<\/em><\/strong>. All 20 self-interviews that were published are available in PDF format. Click here<\/a> to access the file.<\/span><\/p>\n

For Neto, the non-plastered format of the platform, which allows the possibility to include the work\u2019s debate methodology is the biggest asset of everybody\u2019s toolbox. \u201cThis creates a very important sharing network. It\u00b4s, no doubt, one of the things that make this platform so important, especially because it attempts to share the process, not the product. Those who read it can use the tools to find other things, without having a pre-defined model this tool should generate\u201d, he praises. \u201cThe platform brings, in its proposals, a policy that goes against the idea of the lonely genius or the brilliant idea. It\u00b4s an attempt to strengthen the idea that shared ideas strengthen each other, instead of weakening. When I share methodologies, I share something that someone can use in the exact same way I described, but it will certainly generate different possibilities\u201d, he completes. <\/span><\/p>\n

To promote the approximation of artists that may be developing similar projects is also the goal of open-frames. In this case, the idea is a little simpler than everybodys toolbox\u2019s: a virtual platform \u2013 a kind of open archive \u2013 where dance and performance artists post their projects following a determined pattern. At open-frames there are no games or interaction tools, the main goal is archiving works. <\/span><\/p>\n

\u201cWe seek inspiration in semi-anonymous systems like myspace, facebook, blogcom etc, looking for a specific online network for performance works. As a result, we have today an archive that emphasizes easiness to read the contents\u201d, explains Heike Langsdorf, one of the creators of the platform.<\/span><\/p>\n

In times of shrinking distances with the help of technology, many projects inspired in social networks are surfacing, like movimento.org<\/a>, a partnership between idan\u00e7a<\/strong> and Red Sudamericana de Danza. In the case of OF, however, the aim is strictly professional exchange, there are no member profiles. Open-frames is a natural evolution from Frogs OS, a network of professional artists that worked between 2000 and 2008, based in Belgium and also headed by Langsdorf. Now, the 36 works produced by Frogs OS are available at open-frames. \u201cThe decision to create open-frames was a way to continue what was working in Frogs OS while taking advantage of the possibilities of virtual networks\u201d, completes Langsdorf, who works in collaboration with Ula Sickle and Matthieu Collet.<\/span><\/p>\n

The working of the network is simple: the artists only have to get in touch with the managers of OF at info@open-frames.net and they will send an access login to post works. It is mandatory to publish a descriptive text (in English) of the content that will be online, besides a video, or at least 15 images. There is also the possibility to post PDF files, tour data and links to other websites. The search can be done by the title of the project, name of the artist or the nature of the work: architecture, dance, performance, installation, mew media, photography etc. <\/span><\/p>\n

One of the projects found at OF is the performance Curator’s cut<\/strong><\/em> (foto 2), from 2007, posted by balletanz. The collective C&H share the stage with many extras, like a dog, a plant and mini rock concert. All in 25 minutes. \u201cThe ongoing input of works and communication between artists and users seems to be the way for open-frames to keep working according to its original intention: as an open archive\u201d, analyses Langsdorf. <\/span><\/p>\n

Read the complete interview idan\u00e7a<\/strong> did with Heike Langsdorf, via e-mail. <\/span><\/p>\n

How did the Frogs OS project become open-frames?<\/strong><\/em><\/span><\/p>\n

Frogs OS consciously avoided being a structured, subsidized or sponsored unity. It was a temporary network of people and projects proposing an alternative mode of working and producing. The idea to initiate a network for creating and presenting related works, often very diverse in form but always showing a clearly experimental approach, was intended as a way to develop a certain visibility and credibility for experimental work. The decision to create open-frames was a way to continue the underlying aims of Frogs OS while taking advantage of the networking possibilities of the Internet.<\/em><\/span><\/p>\n

How this idea of open-frames as an \u201copen archive\u201d was born? Was the implementation of the site easy? How did it work?<\/strong><\/em><\/span><\/p>\n

In its 7 years of working, Frogs OS produced numerous research projects and productions that were continuously documented on a blog but that were never published in a serious way. A logical continuation of Frogs OS seemed to be to create a library, offering the possibility to present and publish works. Recycling the outcomes of Frogs OS into an online archive should ideally give rise to an expanding (though limited) community of users. While developing and constructing the site, we took care not to create another exclusive online-forum, which despite its goodwill demands highly personal interaction and therefore mostly remains restricted to a small circle of people, more or less known to each other. On the contrary we took inspiration from semi-anonymous online systems like myspace, facebook, blogcom etc, aiming for an online network specific to performance-based work. Something not existing yet in the way we imagined it. As a result we find today an archive that emphasizes the content and readability of the content of works. open-frames not only presents finished works but is also interested in the communication of concepts, studies as well as research, showing concrete outcomes.<\/em><\/span><\/p>\n

What do you think is better now with open-frames?<\/strong><\/em><\/span><\/p>\n

open-frames is not necessarily better than Frogs OS but is consequently more open, since it is less restricted to a physically bound community.<\/em><\/span><\/p>\n

Doesn\u2019t the fact that the public of open-frames is restricted to people involved with arts prevent the wider public to know about the works published there?<\/strong><\/em><\/span><\/p>\n

In comparison with other archives, upload\/download-providers and search-engines, open-frames adopted a format that is rarely found on the Internet. The biggest quality of open-frames is its limitation to a specific cultural field, a limitation, which is hard to maintain without a classical curatorship. Open-frames achieves this by alternatively working in a very personal way: There is a constant dialogue between the administrators of the site and the users in order to guarantee that the rules for registering, posting and uploading are respected and to ensure the readability of the posted material.<\/em><\/span><\/p>\n

Since January 1st, open-frames already has many participants. What are they saying about this new possibility of connection between artists?<\/strong><\/em><\/span><\/p>\n

The participants seem to – be the most interested in \/ check out – the possibility of joining a selection of works and people they themselves decide to be part of and by this become self-curators. After the first enthusiasm and surprise about the amount of interested people, right now what we see emerging is an interesting & problematic issue about quality vs quantity. Ongoing ‘work’ on the site and continued ‘communication’ between us the providers and the site\u2019s users, seems to be the way for open-frames to continue to function as it was originally intended to function: as an open as well as active archive.<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Est\u00e1 cada vez mais f\u00e1cil promover encontros entre artistas com ideias afins, algu\u00e9m duvida? O everybodys toolbox e o open-frames s\u00e3o arquivos virtuais onde o artista pode postar informa\u00e7\u00f5es sobre seus trabalhos. Saiba como \u00e9 o funcionamento de cada uma dessas plataformas.<\/span>
\nIt\u00b4s getting easier and easier to promote encounters between artists with similar ideas, does anybody doubt that? Everybodys toolbox and open-frames are virtual archives where artists can post information about their work. Learn how each of these platforms work.<\/span><\/p>\n","protected":false},"author":136,"featured_media":11085,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[46,28],"tags":[217,3291,1603,3216],"yoast_head":"\nPlataformas que diminuem dist\u00e2ncias | Platforms that shorten distances -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/plataformas-que-diminuem-distancias\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Plataformas que diminuem dist\u00e2ncias | Platforms that shorten distances -\" \/>\n<meta property=\"og:description\" content=\"Est\u00e1 cada vez mais f\u00e1cil promover encontros entre artistas com ideias afins, algu\u00e9m duvida? 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