Uncensored internet

Glade found that out of our audiences, less than half (45%) actually used that uncensored internet to read censored or banned material.

7-in-10 Americans consider an uncensored internet very important. https://t.co/cxpp7bJqmN pic.twitter.com/dOcDbkcSTS

— PewResearch Internet (@pewinternet) December 29, 2015

There is little doubt that the methods of creating, marketing, distributing and consuming cultural products have changed in the past 20 years due to disruptions caused by digital technology … Today, with the value of content being driven towards zero, it is rare to make a living solely from such exploitation and artists have had to evolve how they sustain themselves.

Data and How Artists Make a Living, by Ken Tabachnick, on The Clyde Fitch Report.

This is true for journalism as well!

(via emmajoan)

In this case, the “data” is the money. 

“... the real story is not the data on which the public dialogue seems to focus, but rather the perspective working artists take on the changed environment in which we live. What is missing in looking at this data is a deep analysis of whether artists are able to make a reasonable living on a net income basis and how today compares to the past.” 

“The privacy gain is just a perk” in the new apps being built on updated iOS9 technology to block certain pieces of content, ads, and/or tracking in the Safari browser on iPhones & iPads.

“There is also the privacy consideration — removing third-party cookies should reduce the embarrassing ads about items we abandoned in online shopping carts that follow us all over the web “

Also THIS from the developer of Peace: 

“Ad-blocking is a kind of war — a first-world, low-stakes, both-sides-are-fortunate-to-have-this-kind-of-problem war, but a war nonetheless, with damage hitting both sides. I see war in the Tao Te Ching sense: it should be avoided when possible; when that isn’t possible, war should be entered solemnly, not celebrated.”

Calling dancers who value collaboration and story telling

What: Audition to become a member of Glade Dance Collective When: THIS Sunday, Sept. 20. The space will be open at 2pm, and we'll start moving at 2:30. We'll wrap up around 4:30. Where: Edgewood Arts Space on 8th Street NE right at the corner with Monroe.

What to expect at the audition: The audition will include elements of dance technique, improv, and movement manipulation. We are looking for dancers who are open to exploration of all of these elements and excited to perform.

What to bring:

two 8-counts that you're ready to apply to any piece of music and an openness to manipulate or create mash ups with it

your dance resume if you have one

your calendar!

This form, filled out (or arrive early and we'll have extras for you)

Learn more - we want you! 

Who is in Glade’s audience?

Collecting and analyzing data was a big theme in Mine/Field. How do you stack up against our aggregated data across all six performances for Capital Fringe 2015? 

For our July 15 show, it was mostly female Millennials who chose Friends/Family.

"Only because I insult them behind their backs," wrote-in one audience member on July 19.

On our July 18 show, no one in the Boomer category copped to reading banned or censored material. 

All the Boomers at our July 21 show said "No" to "Do you feel safe online?"

It wasn't until the end of the run - July 25 - that audience members started writing commentary on our generation breakdowns. One Boomer wrote "The Jimmy Paige generation." Millenials said "snake person" "ugh" "I hate the term" "genY!"

Where do you fall for these two data points?

I've never experienced dance in that way.

An audience member of Mine/Field

Other feedback we have received:

"It made me want to go home and change all my passwords."

"I wondered how you were going to keep my attention for 50 minutes but you easily did - the piece moved, beautifully, throughout the entire time."

Mine/Field "is a testament to the work and dedication of Glade Dance Collective’s dancers. Their strong direct faces and punctuated movement build a delicious tension on stage."

"This was actually really creepy."

Lauren Borchard, “The Collector”

So Fringe is one of my very favorite things about D.C., art, summer, theater, dance. and community. I performed in the first Cap Fringe 10 years ago, and I was delighted that Glade decided to make its Fringe debut this year. The big question: what would we do? Could we be true to both Glade and the spirit of Fringe? Last fall, Glade decided to find a topic for our new dance by asking our friends, fans, and strangers to suggest topics. As we voted different suggestions up or down the list, I was disappointed to see one dealing with national security and data collection making its way higher and higher. It sounded wonky, dull, and uncomfortable to me--I prefer to hide some of my data as much as I can, and I'm wasn't sure where I stood on some of the bigger issues. What's more, I wasn't interested in devoted precious dance time to figuring it out. Then we started work. And I volunteered to lead a rehearsal or two. So I needed a way in, and I started thinking about my internet browsing. I considered the times when keeping a secret is vitally important, and the times when it's even more important to broadcast a secret to the world, empowering the speaker and possibly neutralizing the secret's potential to damage or hurt the speaker or his/her peers. Often these moments relate to illness or abuse, and victims can become survivors when they broadcast their experiences. We all have secrets. We are generally bad at keeping them (hence the popularity of Post Secret). What are your secrets? Which secrets will Glade tell, and which will we keep? Check out the show to find out! And while you're there, don't forget to tell us your secrets. I'm immensely proud of the work that Glade has produced over the last 9 months and can't wait to share it with the world! But I still don't like sharing my data, and I'm not sure that my positions on data collection and national security have gained much clarity or consistency. I'm just glad to have been part of the process and the finished product!

Projections by Jenny Holzer that we are contemplating today, for inspiration. 

Which projection do you relate to, “Secrecy,” or “I see you”? Do you want to keep your secrecy, or observe others? Both? Neither?

See it all in dance, and pick your side in the debate, July 15 - July 26 at Dance Place. Buy your tickets (+ Fringe buttons) here!

A preview of Mine/Field - and a glimpse in to our collective process - is up on DCMetroTheaterArts!

Chris, you are our hero!

For this project, I was contracted to be Glade Dance Collective’s (glademinefield) Creative Director for promoting their piece, “Mine/Field” at the 2015 Washington, D.C. Capital Fringe Festival. Having worked with Glade previously, I already was familiar with their style and worked to achieve something that would push their visibility further, especially among other Festival performances.

Costume Design To this end, I designed the costumes, directed the photo shoot, and designed the campaign poster. The theme of “Mine/Field” revolves around data mining and anonymity, so the concept drawings took inspiration from both popular search engines as well as movies that involve being observed without acknowledgement.

Photo Shoot The next phase was translating those costume ideas into actual costumes for the shoot. I directed the shoot, using the experience I’ve gained from previous shoots to capture Glade in a natural state. This lead to quality photos that would then be used later for the poster design.

Compilation In the post-processing stage, all the information about the piece was complied and used in order to make the final piece. This included using the carefully selected shade of blue, linking back to social media, while having a representation of the dancers digital persona’s watching over them in the background. By doing this, the piece gains layers and depth that communicate the concepts of “Mine/Field”.

CreeseWorks http://creeseworks.com http://facebook.com/creeseworks http://twitter.com/creeseworks http://instagram.com/creeseworks

Glade Dance Collective

http://gladedance.org http://facebook.com/gladedance http://tumblr.com/glademinefield http://twitter.com/gladedance

Photography by:

Rob PC Photography

http://robpc.com http://facebook.com/robpcphotography http://twitter.com/robtng

Want to know what music we’re playing with for this dance? Join us on Spotify!

We will be at the Logan Fringe Arts Space (and indoors and outdoors bar...) this Friday for the Double Digit Bash, and you should be too!

First POS system 

“I can feel  you in my room. Why was I assigned to you. I feel like I am home on my own.”

Holly Herndon’s Home explores many similar concepts that we are also exploring in Mine/Field. What does it feel like to be observed? Especially when we think it’s a private place?

The top two stories in the NYTimes right now are exactly what Glade has been exploring for the past several months:

Hunting for Hackers, N.S.A. Secretly Expands Internet Spying at U.S. Border

Consumers Dislike Data-Mining but Feel Helpless to Stop It, Report Finds

‘“Data is being collected on you all the time,” Mr. Allen observed. “You either don’t have a clue about it, or you’re resigned to the fact that this is the way it is in 2015.”’ 

In this rehearsal photo with our amazing guest artists, the lifted is human, and the lifters are bots, collecting data. Are they supporting the human? Or taking something from her? You be the judge!

“Penn researchers found that many consumers may not fully comprehend the data-mining practices that occur when they use sites and apps.” Do you know? As the article mentions, try Ghostery to take a look at the bots that are always encircling you, ready to help. Or take. 

A bipartisan majority in Congress favors an aggressive spying culture — but a bit more restrictive and with more oversight.

Quotes from Sen. Richard J. Durbin (D-Ill.): 

On being private about surveillance: “I couldn’t even explain publicly what it was all about. I had to say in the most general terms of principles what we were doing.”  

On the contemporary ‘characters’ on each side of the debate: “Snowden’s argument is that government has gone too far, the ISIS argument is how far does government need to go to protect us.”

This is a fascinating art project happening on the west coast! Check it out! 

Here’s a sampling of insights we heard from residents last night during our outing at the Oakland Museum. Thanks to all who stopped by!