Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.

  This page gives you Fast Links to various tangoclips . You can scroll and click to see famous tangueros, tangoshows, mundial clips, tangoballet, etc...
Or, in the context of getting in a specific mood, you can click to a separate page with videos around one theme:
  1. TangoClass - instructional vídeos - TangoLessons
  2. Milonga and Candombe dancing
  3. Tangovals clips - Tango waltzing - Valse - Tangowals
  4. Various Great Tangoclips Online fast internet access needed
  5. TangodanceClips with Humor
Links to Various Tango Videos
Changing selection - not sort by date added
Dance interpretations on Francisco Canaro's Poema
Gustavo Naveira & Giselle Anne Piazzolla
Piazzolla Mundial 2007 Sanchez & Yaisuri Quiñones - Colombia
Campeones mundiales Gaspar Godoy & Gisela Galeassi Canning
Veronica Salmeron & Leonardo Barrionuevo Zum
Julio Balmaceda & Corina de la Rosa stepping Troilo
Murat and Michelle Erdemsel - bailan con ironía La Cumparsita
Javier Rodriguez y Geraldine Rojas - show "Mala Junta"
Maestro Antonio Todaro & his daughter in the sixties
Mariana Dragone & Fabrizio Forti - El Huracan
Hernan Obispo y Mariana Dragone Stepping Pugliese Zum
Mariela Franganillo & Jorge Torres - Piazzolla Escualo
Esteban Moreno y Claudia Codega - Neotango
Esteban Moreno y Claudia Codega - No Neotango
More Esteban Moreno y Claudia Codega - tangoneon
Milena Plebs y Ezequiel Farfaro - Pugliese
Milonga - Alejandra Martiñan y Gustavo Russo - TangoPasion
Enrique y Guillermo de Fazio los hermanos - Milonga Reliquia Portenas
Enrique y Guillermo Los Hermanos Macana - Tango Mala Junta
Carlos Gavito & Marsela Duran dancing A Evaristo Carriego 01
Carlos Gavito & Maria Plazaola - Pugliese's A Evaristo Carriego 02
Carlos Gavito & Maria Plazaola - Carlos Di Sarli
Carlos Gavito & Marcela Duran - PATA ANCHA
Carlos Gavito y Maria Plazaola - Passionale
Carlos Gavito & Geraldine Rojas, at La Viruta
Puppy Castello and Geraldine Rojas, tango al reves sequence
Gustavo Naveira y Giselle Anne - LA CUMPARSITA
Mariano "chicho" Frumboli y Ceciloa "chika" Gonzales CITA 2001
Murat Erdemsel & Mariana Galassi - Tango Nuevo - Neo Tango
Tangobailarines on Pugliese
Osvaldo y Graciela bailarines profesionales
D'Arienzo Bailarin Compadrito BsAs
Mundial - Guillermo Cerneaz y Paula Rampini
Valsecito Geraldine and Ezequiel Paludi
Canyengue Tango Lorena and Ariel


YouTube illustrated tangopages:
Dance interpretations on Gallo Ciego
Tangodance interpretation on Francisco Canaro's Poema
Walking the tango rhythm
Walking Seduction
Dance is a physical need
Tangowals tangovals Milena Plebs Ezequiel Farfaro and other clips
Online Tangolessen videoclips videolessen updated
Carlos Gavito and Maria Plazaola
Showclips Forever Tango - great milongueros

¡Viva La Música!
  Best is to start a tango just by walking, doing no figures. Match the steps to the music, just listen. The more you can hear and feel the music inside, the more you know the music by heart, the more you can walk it. A dancer is like a musician, a musician makes a movement like striking the piano, and then... comes the sound. It means that, in an anticipating moment, the sound is inside him before it comes out. A dancer starts a movement and... steps at the moment that the sound appears or instantaneously following it, he is "one" with the music because he knows the music by heart. In this composition, the movement is corresponding perfectly with the music. Reacting on music is not the same as dancing with the music. When you "react" on a sound you hear, there is a time delay, as if the movement is not inside the music. However, if a dancer over-anticipates, he is predicting the music and steps just a bit too early, being just a fraction ahead of time. The timing question relates to organic consciousness. To keep one with the music - the music felt inside and the music heard outside -, a permanent sensitive awareness is required. It means being attentive to sensory signals. It is a joy you can develop, starting by matching your steps to the 2x4 beat, stepping in response to the pulse.
  Tangodance or la danza prohibida is more than a styled image. Touching another person is a form of physical intimacy and plays an important role in dance. Introspection captures the intention, not just the physical, outward expression. Action only deals with physical movement: the action line, the axis. Physical movement however, has a non-physical counterpart: its essence, its movement identity. Gesture involves not only physical movement, but a deeper concept of identity. One can only make contact if an appearance has a deeper emotional substance, a lived-body is behind the appearance. Significant interior feelings like joy, make the exterior appearance meaningful and authentic. From this, the dance derives its sense of motion as a whole. To make dance a living, ongoing event, there must be this, rather magical internal trigger for action. It is like playing piano, it is not the same as typing notes, an inner soul has to touch the fingers. A musician is expressing himself through his instrument and connecting awareness to the whole body. He is not unpacking a digital audio format. Dancing on life music feels much different from a mp3 audio file which encodes music into a technological form. We interact through all our senses, the sensing body in movement has much more layers than its visual image. Tango or la danza prohibida, is rather a counterculture than a subculture. A subculture is a somewhat integrated component of a society, though clearly separated like the world of celebrities, while a counterculture is actively and openly opposed to many of the characteristics of a society, a nostalgic image maybe.
  In recent years, especially since Argentina's disastrous economic crisis of january 2002, tango tourism has become an important source of revenue for the city's economy and Argentinian males can get an income as a taxi-dancer. Taxi dancers rent themselves to foreign tangotourists for the social dance only, a strange turn in the history of tango and it's origins. But as thoughts and social behaviors change, tango as a social dance changes too. Learning to dance is learning and exploring a new (body)language, a language that seems to reflect historical characteristics. Subtle changes in social relations are mirrored in new styles of social dance. What does body-language tell us about our today's wishes or attitude of mind?


    In a society in which the individual is relentlessly confronted with a massive cultural production of unattainable role models, we find ourselves increasingly under pressure to conform. The omnipresence of desirable bodies with luxurious lingerie styling and the knowledge that we will never look like that, creates a paradoxical and artificial web of frustration and desire. A keyword during this decade is Sexyness. Sex appeal or looking sexy is about an exterior appearance. It can be related to self-perception, self-awareness, self consciousness, ego. A feeling of self-consciousness occurs when we realize that we are being watched or observed, the feeling that "everyone is looking". When feeling self-conscious, one becomes aware of even the smallest of one's own actions, self-objectification: picture, image, icon, ikon.
    A group that might be expected to be particularly high in self-objectification are dancers. As there is an excessive beauty culture and a phobia for the passage of time, the aesthetic perceptions experienced in the last decade mark a general perception transformation, appearances become objects, items of clinic evaluation. It looks as if beauty is no longer seen as an object of desire, but as an object of scientific research, searching the perfect geometric shape for a selling ad where the viewer can respond to become part of the advertising message, which means that the gaze and the exhibition are one and the same, as bound in a looking mirror.
    In the matter of listening, time, cultural taste and sensitivity make a difference. Many listeners appreciate the sheer sound quality of authentic performance instruments, finding it more beautiful and filled with character than what is heard from modern instruments. The same could be said of the human voice, when it is not required to compete with modern instruments in volume. What authentic-performance participants want is not always authenticity per se, but particular benefits that come from authenticity, such as clarity, tonal vividness, and rhythmic propulsion. The instruments have a less overpowering tone, so that the playing of one note interferes less with the hearing of simultaneous or neighboring notes. Authentic performance is argued to achieve greater transparency of musical texture. Greater transparency and greater dynamic contrast lend themselves, in turn, to greater rhythmic energy. To the ear that has become attuned to authentic performance, modern "mainstream" performances often sound heavy and rhythmically dull. Paradoxically, for such listeners, the unique musical character comes through more clearly when they are performed with the lighter forces of the authentic performance movement. Mainstream or 'corriente principal', spiegelt den kulturellen Geschmack einer großen Mehrheit wieder.
    Regarding dancing tango and it's musical evolution in the recent decades, the four representative schools of the Argentine tangomusic are: Di Sarli, D’Arienzo, Troilo and Pugliese. They are dance orchestras, playing music for dancing. When the spirit of the music is characterized by counterpoint marking, clarity in the articulation is needed. It has a clear, repetitive pulse or beat, a strong tango-rhythm which is based on the 2x4, 2 strong beats on 4 (dos por cuatro). Caminar es todo, stepping the rhythm is the art of tangoing. The dancer's musicality and his taste for subtleties makes you see the refinement of the 2x4 tangomusic. Astor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His tango nuevo compositions tell us something of our contemporary life, dancing it relates much to modern dance which is a more choreographic performance. Tango with a touch of techno is another new development. This bajo fondo underground tango is, in a way, the return of the strong beat and it is mostly danced with a lot of nuevo figures such as colgadas and volcadas. In any case, musicality only comes when you love the music and know it by heart. A pianist says: "There’s nothing quite like learning to play a piece of music to really get inside it. Once I’m inside it, once I’m feeling through the piece with my own hands and working through its many parts with the microscope of learning, once I really start to “get it” about the music … it’s just staggering."
    Playing piano is not the same as typing notes, an inner soul has to touch the fingers. Touching another person is a form of physical intimacy and plays an important role in dance. One can also be emotionally touched, such as by music. In this metaphorical sense it refers to some action or object that evokes a sad or joyful emotion. Hearing music is more than listening, it is touching all of the senses simultaneously. In singing, the body's pulsations are protruded on to a stream of breath, thus revealing the singers emotions and offering a target for affective identification for the listeners. Even when listening to sounds of musical instruments, a part of the listening experience is a notion of the bodily activities that produce the sounds. A player's sense of a musical style is primarily felt in contact with the instrument, and can not be acquired through discourse. The physical effort to create sound is already part of the music. The bandoneón, originally ment as a small church organ, needs the musician's whole body to express a boundary-transcending sound. A musician is expressing himself through his instrument and connecting awareness to the whole body. He is not unpacking a digital audio format. Dancing on life music feels much different from a mp3 audio file which encodes music into a technological form. We interact through all our senses, the sensing body in movement has much more layers than its visual image.

Selected YouTube TangoVideos:
1. TangoClass - instructional vídeos - TangoLessons
2. Milonga and Candombe dancing
3. Tangovals clips - Tango waltzing - Valse - Tangowals
4. Great Tangoclips - fast internet access needed
5. Fast Links to Selected Tango Dance Vidio Updates
6. TangodanceClips with Humor

Streaming flashvideos - The online video revolution
    Today, when your internet access is working fast, you can easily get video clips. In the context of learning to dance tango, the streaming videos can give new inspiration. Streaming video, often broadcasted as a flashvideo (.flv), is a new and exciting multimedia technology. With broadcasting flash videos, it's possible for any person to create movies and make them available to a worldwide audience. Today's stream of moving images are changing more than just the internet, it's a new anchor in our contemporary communication, a key evolution in time.
    YouTube, founded in february 2005 and who Google now has bought for 1.65 billion dollars, is such a new meeting point. It is a consumer media company for people to watch and share original videos worldwide through a Web experience. Having your own "YouTube" appeals and people, as in a counter-transference, join in. The biological drive behind it is curiosity. Experiences of curiosity drive up our dopamine levels and make us feel extremely alive. People gain pleasure and satisfaction from the sheer sense of being able to do something personal and being noticed. It's also a great source for those who love studying things, things like The Art of Self Promotion. The aesthetic awareness in the last decade shows a transformation. Behind the excessive worship of beauty as a fetish or beauté fétiche, is a phobia for passing of time and an eradication of every trace of growing older. Beauty is not an object of desire, being beautiful is being an object of scientific investigation, perception rather than reality.

    The online video revolution. As most people don't have the high-speed www-connection or a website needed to serve streamed video, many companies will broadcast your captures for you. It gives anyone the opportunity to make a movie clip public. Regarding tangoing, one can now see the maestros on a much larger scale than before, and discover the secret of the unusual and unexpected in their acts, all this at home on your pc. The computer obviously changes the way of looking and studying.
    As the stream of videos is becoming overwhelming, a new orientation in the way of looking at visual information is most useful and interesting. Maybe watching it like a learning child, taking a closer look in search for something new, a long-lasting surprise, truly catching an unseen sensed thing, a hidden bottom, maybe a fake: "The digital camera blonde who attracted thousands of admirers on Facebook has been exposed, she is a model who poses for X-rated pictures online. The revealing site has admitted that it was all a "clever viral marketing campaign", it spreads like a virus. It can be word-of-mouth delivered or enhanced by the network effects of the Internet". The term viral video refers to video clip content which gains widespread popularity through the process of Internet sharing, typically through email or IM messages, blogs and other media sharing websites. Guerrilla marketing is an unconventional way of performing promotional activities on a very low budget. Such photoshoots are sometimes designed so that the target audience is left unaware they have been marketed to and may therefore be a form of undercover marketing.

    Subliminal Imagery. We are facing a new phenomenon: loss of orientation. In dealing with identity and the influence that has on our daily lives and decisions, I began thinking about influences in my life that shape my identity in the broader sense of the word and started to ponder on outside factors that shape how we make decisions and whether our decisions or choices as we perceive them are in fact our own, this leads to what is for me a scary thought, what if many of our most basic decisions are effected by external subconscious manipulation. How much of our so called "free will" a particularly in term of product choice is influenced by subliminal advertising? In fact our subconscious mind is constantly manipulated by subliminal messages that influence much of what we do and the choices we make. A subliminal message is a signal or message embedded in another object, designed to pass below the normal limits of perception. These messages are indiscernible to the conscious mind, but are alleged to be perceptible to the subconscious or deeper mind. A small detail that would cause a heightened, but defocused sense of alertness, like a moment of hypnosis. That heightened moment of alertness without awareness is a key element that advertisers want to build into those few seconds of exposure to a magazine ad. Having such a reaction, many are left with what psychologists call a lack of closure, a feeling that something's missing. Closure feels like nothing is missing. Nothing is left to be noticed. Closure allows you to feel ease and so put something in storage, out of your (conscious) mind. However, lack of closure, a lack of completeness, haunts you, brings things back to mind--again and again. That tells you how valuable lack of closure in ads can be. If you have these kinds of appeals, you'd better make it easy for people to make an immediate decision. You should put them under time pressure.

    As pictures are build on a storyline, a story is at bottom of this page. Scroll for Children and The Magic of Imitation.

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.

Children and The Magic of Imitation

    When dancing Argentine tango in public places, it can happen that humorous young people, often girls, jump on the floor and start tangoing, stereotyping it with a lot of fun. Although imitation is often thought of as a low-level, relatively childish or even mindless phenomenon, it is in fact something complex, having an instinctive motive like humour. It seems that children can catch our goals even if we fail to fulfill them, thus imitating unseen things. It is as if they are copying underlying desires. It seems that children sense the intention and choose to imitate what we meant to do, rather than what we, well-educated and cultivated, "mistakenly" do.

Tangodance_interpretation_Gallo_Ciego_Argentijnse tangodans. Site tangoevita - evita - E Vita.

    As there is an inbuilt drive to act like the others in society, an urge to duplicate, it creates an unconscious recurring pattern of behavioral codes. Imitation is a part of prosperous relationship building, which is an important concept to understand if one is to adapt and function effectively in society. Sameness or similarity tend to be perceived as belonging together, making it a safe unit. The culture of interpersonal connections contains implicit mutual obligation, conduct assurance and understanding teamwork. It governs attitudes toward long-term relationships. Sociability and socializing are the primary focuses of the social dancing. Socialization is, in essence, learning.
    In the context of lifelong learning, one can find new inspiration in the streaming videos. As there are always experiences you disregard, maybe you need to go back, view and identify them. Thus, for changing creatively like a learning child, detect crucial distinctions and signs of deception. Looking at the imitations on the video, it is amazing to see how good the girls captured the spirit of the cell block tango movie.


    The most sophisticated forms of imitative learning are those that require an ability to read below the perceived behavior to infer the underlying goals and intentions of the actor. This brings the human infant to the threshold of theory of mind, in which they attribute not only visible behaviors to others, but develop the idea that others have internal mental states (intentions, perceptions, emotions) that underlie, predict, and generate these visible behaviors.
    The experimental question in the development of imitation in children, was whether infants also read through the literal body movements to the underlying desire of the act. The measure of how they interpreted the event was what they chose to re-enact. In this case, the correct answer was not to imitate the movement that was actually seen, but the actor’s goal, which remained unfulfilled. Children chose to re-enact the unseen but sensed goal.

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.

    Modelling imitation.
Start by finding someone who exhibits or can demonstrate to you the skill or quality that you want to model. Model each one separately, then integrate these components into a larger model. You can think of people in your life whose attitude you particularly like or disliked, and model that. Model a change that someone made spontaneously. Find out the characteristics of before and after, and how the transition was made. Iit's a wonderful way to gain experience and flex your modelling muscles. Model a skill of your own that other people have commented on, but you don't know clearly how you do. Ask someone who doesn't have this skill, and wants it, to gather information about it as their project. Since it is so natural to you there will be many aspects that will be totally unconscious and presupposed, and only someone else asking questions from a perspective of not being able to do it will tease them out and make them obvious.

      Click for Symbolic Meanings in Tango Dancing !

  You can compare two people, one of whom has it and the other doesn't. Acts and gestures want to be connected to inside intentions.

As expected and predicted, theatre ...
Julien Schoenaerts

    As the purpose of the imitation is to achieve a similar effect on the environment, the environmental reaction is an important factor in the development of an individual's skills. However, children can read through the literal body movements to the underlying desires of the act and even perform unseen acts, as if a desire is easily to be recognized by a child. Mirroring and amplifying the perceptual position can be extremely useful. However, most real-world skills require knowledge of content. Degrees of insight, resolving or cleaning up ambiguity. Disambiguation should not be confused with confusion. Duality is a part of passion, it is playing with contradictions.
    Entertainment is full of imitation. In Kopykats Comedy Hour, the act of copying by entertainers is an art. An impressionist gives a characteristic, an entertainer does impressions, impressionism, overdoing it, becoming the most watched, copied, downloaded. In satirical sketches, timing and duration of emotional gestures and emotions are off a normal pace. The display of emotion is delayed, stays longer it would naturally. Modelling, copy, an imitation or reproduction of an original. Imitate, to duplicate an original as precisely as possible, reproduce someone's behavior, non physical expression or looks. Symbolic imitation can be found in the human use of parody and caricature like imitating Margaret Thatcher. Direct recognizable, easily to recognize, quickly recognition. To mimic is to make a close imitation, often with an intent to exaggerate, romanticize, comic sketch. Spitting Image, exact likeness , caricaturists, slightly mad characterisations in the context of a fast changing world.
  There are many elements and dimensions to good entertainment. These elements should all connect and relate so that together they create a great story. Today, the Dance Fever is reviving and televised dance competitions, TV shows such as So You Think You Can Dance with Ivan and Allison doing La Cumparsita, are most popular.
  Similar to any other type of story or method of acting, an element of surprise, such as time shifting, is appreciated and adored by viewers.

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.

Broadcast Yourself, el show del yo...

    TimeShift. De lo íntimo a lo éxtimo: La argentina Paula Sibilia y "La intimidad como espectáculo"... A partir de un proyecto de tesis surgió la investigación basada en los blogs, fotologs y toda la Web 2.0 como la manifestación de una necesidad de espectacularización de la vida. Se ha desencadenado un verdadero “festival de vidas privadas” y los nuevos medios de comunicación se han puesto a su servicio. Estas nuevas formas de exposición pública de la intimidad son un síntoma de importantes transformaciones en la subjetividad contemporánea, relacionadas con una cierta crisis de la “vida interior” y una tendencia a la “espectacularización del yo” con recursos performáticos. Al examinar de cerca estos nuevos hábitos de autoexhibición, sobre todo en Internet, noté que la principal creación de esos autores que tanto proliferan es su yo, el show del yo.

    Pensemos en las transformaciones que tuvieron lugar en los formatos audiovisuales en los últimos años. La hegemonía de la ficción realista, típicamente burguesa, va perdiendo popularidad en detrimento de una nueva estrella en ascenso: el documental ficcionalizado. “Si la paradoja del realismo clásico consistía en inventar ficciones que pareciesen realidades, manipulando todos los recursos de verosimilitud imaginables, hoy asistimos a otra versión de ese aparente contrasentido: una voluntad de inventar realidades que parezcan ficciones. Espectacularizar el yo consiste precisamente en eso. Transformar nuestras personalidades y vidas (ya no tan) privadas en realidades ficcionalizadas con recursos mediáticos.” En general, lo que sucede en los blogs o fotologs standard, es que se genera una obra donde el principal contenido es el yo, la vida propia. Y cuando se producen obras en sentido tradicional –textos, fotos– valen en la medida que contribuyen a adornar la imagen del autor-narrador-personaje. Pasa, por ejemplo, con los autores que no tiene obra pero si autobiografía, donde la principal obra es el personaje.

    El miedo a la invisibilidad puede hacer que la persona coincida con el personaje porque si no se nos ve, tal vez, no existamos. El yo no se siente más protegido por el perdurable rastro del pasado individual ni tampoco por el ancla de una intensa vida interior. Para fortalecerse y para constatar su existencia debe, a cualquier precio, hacerse visible. Ésta es la importante transformación que señala Paula Sibilia: el desplazamiento del eje en torno al cual este yo se construye: una interioridad que se exterioriza. Lo que cada uno es no está más adentro suyo: es lo que se ve. De la interioridad a la visibilidad está la espectacularización del yo: hoy, las apariencias son las esencias. Tendencias exhibicionistas y performáticas alimentan la persecución de un efecto: el reconocimiento en los ojos ajenos y, sobre todo, el codiciado trofeo de ser visto. Cada vez más, hay que aparecer para ser.” Como ironizaba Guy Debord en La sociedad del espectáculo: “Lo que aparece es bueno y lo que es bueno aparece”. Esta es la tiranía de la visibilidad: En este monopolio de la apariencia, todo lo que quede del lado de afuera simplemente no existe. “La Web 2.0 ostenta una “peculiar combinación del viejo slogan hágalo usted mismo con el flamante nuevo mandato muéstrese como sea” que está desbordando las fronteras de Internet, cumpliendo así esa promesa que ni la televisión ni el cine pudieron satisfacer: Broadcast yourself!

    “Si no te ven, no existís”. Ese mandato de visibilidad que hasta hace unos años era la condición de celebridad de actores y personajes mediáticos, se hizo extensivo al hombre común: ahora todos –o al menos la parte del mundo que tiene acceso a la tecnología– necesitamos mostrarnos para confirmar nuestra existencia.

    Time shift. La vida ya no es lo que era. Las tecnologías informáticas y las ciencias de la vida (genética, neurociencia, biología molecular) cambiaron drásticamente el mundo en el que vivimos y, claro, también nuestra manera de mirarlo. Lo que impera hoy es la “tiranía del upgrade”. Es la tiranía de la actualización. Hay que estar constantemente actualizado, no podemos quedarnos atrás, porque pareciera que, como nuestros dispositivos tecnológicos, estamos condenados constantemente a desactualizarnos, a volvernos obsoletos. Amenazados por la enfermedad, por la vejez, por la desactualización informática. Entonces, no podemos quedarnos atrás. Lo que podía ser liberador -en el sentido de que tenemos la posibilidad de actualizarnos y cambiar, distinto a lo que sucedía años atrás- se vuelve una tiranía.

    "Horror a la carne" enfoca el tema del culto al cuerpo como una imagen. Las técnicas que están a nuestra disposición, como la cirugía plástica, la gimnasia, los regímenes, las cremas, el botox, tienen cada vez más fuerza, en el sentido de que cada vez llegan a un mercado más amplio, porque hay un imperativo universalizado de culto al cuerpo. Todos tenemos que ser jóvenes, bellos, delgados, de acuerdo con un estereotipo también muy codificado, un estándar de belleza. Hay que trabajar el cuerpo para que sea de una determinada forma. Pareciera que este culto al cuerpo, el tipo de cuerpo que es enaltecido, que es cultivado con estas técnicas en todos estos rituales, no es un cuerpo carnal, orgánico, sino que es un cuerpo que lucha contra su propia carnalidad.

    Aquel régimen histórico demandaba grandes contingentes de sujetos disciplinados, especialmente entrenados para saciar los voraces mecanismos de la sociedad industrial con su capacidad productiva, y subjetividades compatibles con toda aquella maquinaria (como bien ilustraba el personaje de Charles Chaplin en la película Tiempos Modernos, aquel cuerpo que adquiría gestos mecanizados y era literalmente compatible con los engranajes de las fábricas). Pero esta nueva torsión del capitalismo anclado en el consumo parece solicitar otras subjetividades y otros tipos de cuerpos: sujetos ávidos, ansiosos, creativos, flexibles. Sin embargo, estas nuevas configuraciones corporales parecen ser igualmente “dóciles y útiles”, aunque respondan a otros intereses históricos. Formamos parte de un proyecto histórico que necesita producir consumidores siempre insatisfechos y dispuestos a cambiar.

    Me parece indispensable decir quién soy yo... ¿Cómo se llega a ser lo que se es? Esto se preguntaba Friedrich Nietzsche en el subtítulo de su autobiografía escrita en 1888, significativamente titulada Ecce Homo y redactada en los meses previos al “colapso de Turín”. Después de ese episodio, el filósofo quedaría sumergido en una larga década de sombras y vacío hasta morir “desprovisto de espíritu”, segúnalgunos amigos que lo visitaron. En los chispazos de ese libro, Nietzsche revisaba su trayectoria con la firme intención de decir “quiénsoy yo”. Para eso, solicitaba a sus lectores que lo escucharan porque él era alguien, “pues yo soy tal y tal, ¡sobre todo, no me confundáis con otros!”.

    La brasileña Suely Rolnik se refiere a "subjetividades pret-à-porter", modos de ser y estilos subjetivos listos para usar que quedan rápidamente obsoletos. Estas modalidades de construcción subjetiva son funcionales a un proyecto de sociedad que estimula esos comportamientos y valores, para operar con mayor eficacia.

    Paula Sibilia: " Lo que está claro es que se trata de una sociabilidad dirigida a afirmar el Yo! "

YouTube, Google & Today's Hot Trends --- La página web de videos más popular del mundo, YouTube, podría ser comprada por el líder de los buscadores en Internet, Google, según informa hoy en su página online el periódico Wall Street Journal. El precio a pagar por la página sería de mil 600 millones de dólares (mil 260 millones de euros), pero las negociaciones se encuentran en una fase delicada y podrían romperse en cualquier momento, según fuentes cercanas a las empresas que cita el periódico. En u-Tube.com, los usuarios de internet pueden subir videos y también verlos. De acuerdo con la empresa, por día se ven a través de su página videoclips 100 millones de veces y se suben unos 65 mil. Los analistas de Forrester, a través de sus propios blogs, consideran que a ‘YouTube’ le espera un futuro similar al de Napster, la página de intercambio de música que acabó cerrando por problemas con la justicia. Josh Bernoff, analista de esta consultora, considera que en breve la industria del entretenimiento reaccionará y demandará a ‘YouTube’ por violar los derechos de autor, ya que entre sus catálogos de vídeos se incluyen muchos con copyright. En esta página se pueden encontrar desde cortos caseros hasta vídeoclips o fragmentos de series, programas e, incluso películas de éxito. De acuerdo con su versión, ‘YouTube’ no está preparado para afrontar estos problemas judiciales, ya que, en caso de perder, debería desembolsar mucho millones en concepto de multas. “No creo que pueda evitar a la justicia y mantener su popularidad”, considera Bernoff. Según defiende, es sólo una cuestión de tiempo que la página cuelgue el cartel de ‘fuera de servicio’. Google está zumbándose YouTube por US$ 1.650 millones descartando así tribulaciones de propiedad intelectual y apoderándose de un rol protagónico en la revolución del vídeo. La apuesta es que la internet cautivará más navegantes que espectadores la televisión. Dailymotion -*- Comparte tus vídeos, concurso de fantasias parte 1:
¿Internet y explosión de popularidad, vidio - el nuevo ojo público? ¿Alguien resiste un video? Algunos dicen que la moda es filmarse teniendo sexo. Al parecer, el tema es mucho más que eso: buscar y encontrar "esos" videos en los que personas reconocibles o famosas protagonizan escenas caseras, colgarlos de la web y hasta pasarlos por la tele. Su aparición en un video hot subido a Internet fue suficiente para ponerla en boca de todos y también para que su nombre se tecleara en incontables oportunidades. Apenas unos minutos de sexo explícito con alguien que al menos tiene un fuerte parecido con la joven bastaron. Internet y sus usuarios hicieron el resto. Así, "Wanda Nara" logró trepar hasta el primer puesto de las búsquedas. "Video Wanda Nara" fue la serie de palabras que llegó a figurar en la décima ubicación de ese mismo ranking. En horas se hablaba de Wanda y Noelia Maxim en foros, blogs y sitios. Pero también en televisión y radio, en colectivos y bares. La joven, no hay dudas, llegó a su máximo de popularidad. ¿Y por que no? ¡Ahora puedes ser tu! Si eres una mujer mayor de 18 años, sientes adoración por los piercing y los tatuajes, sexy y te gusta ser admirada y deseada, esta es la oportunidad en convertirte en una de las nuevas estrellas. Nadie resiste a el escándalo del nuevo videojuego. --- parte 2:
El desarrollo de un nuevo régimen de la visibilidad, a partir de las tecnologías digitales, ha incentivado aquella necesidad primaria: el voyeurismo, en tanto práctica que busca satisfacer la libido a través de la observación de lo genital o la imagen pornográfica, tiene su lugar como nunca antes en la era digital. El antiguo fisgón que disfrutaba de contemplar el acto sexual ajeno, representado con la imagen cinematográfica de la cerradura, se ha convertido en un sujeto absorbido por la pantalla, como el propio sexo absorbe al mirón: a distancia. Esa distancia constituye la paradoja del sujeto-espectador de la posmodernidad: en su afán por espiar intimidades ajenas, ese sujeto -al propugnar el aislamiento y la distancia- inmoviliza y excluye su propia intimidad. De alguna manera, el hombre de la sociedad actual, devenido espectador -porque ha dejado de ser partícipe y actor de los acontecimientos sociales- evidencia los mismos síntomas que el clásico voyeur definido por los tratados de psiquiatría: un individuo que, con tendencias adictivas, halla placer en el universo ajeno, sustituyendo la acción por la mirada. Es curioso que tanta gente se agolpe para ver un cuerpo desnudo. Hace muchos años atrás quizás era justificable, pero no estamos en los setenta donde no se veía un cuerpo desnudo ni de casualidad. La desnudez en los ámbitos públicos no está legitimada. No somos una sociedad nudista y llama la atención lo prohibitivo. La multitud ayuda a levantar los mecanismos de represión, como pasa en las canchas de fútbol. --- parte 3:
Ahora bien, el fenómeno de las fotos XXX, los videos caseros y las imágenes nunca vistas ya son una moda. Lo cierto es que solamente este año, “Chachi” Telesco se transformó en una estrella cuando se dio a conocer el video en el que mantenía sexo con su ex novio. A ella se le sumó Wanda Nara, quien habría tenido sexo oral frente a la cámara de un teléfono celular. Hasta un integrante de la casa de Gran Hermano 5 (Esteban) tiene un video de alto contenido pornográfico con una stripper llamada Fiorela. ¿Hay una estrategia de marketing oculta detrás de las supuestas versiones prohibidas? ¿Son tan descuidadas las famosas? ¿No es la mejor forma de autopromocionarse? ¿Las imágenes prohibidas son la nueva estrategia de marketing de la farándula, arte y ambiente de los comediantes?
-*- Google a acheté uTube pour l'équivalent en actions de 1,65 milliard de dollars américains. La question est surtout de savoir si le succès de YouTube est pérenne. Il repose sur la simplicité de son usage qui permet à tout un chacun de mettre en ligne, en quelques clics, une vidéo de son choix. Derrière cette vitrine "web 2.0" de contenus générés par les utilisateurs, une énorme proportion de ce qui circule sur YouTube serait porno, assurent certains détracteurs. Et les annonceurs seront très réticents à associer leur nom à une destination aussi "Chaude Sexy Dancing". Les recherches sur quelques mots clés explicites ne semblent pas accréditer la thèse d'un contenu majoritairement pornographique, d'autant qu'un filtre impose de s'identifier, avant d'accéder aux vidéos les plus osées. Si le roi YouTube est nu, c'est pour d'autres raisons. Plus évidente est la profusion sur YouTube de vidéos résultant de la copie ou du détournement de clips musicaux, d'extraits d'émissions télévisés ou de films, produits par les industries traditionnelles de "l'entertainment". --- La quête du désir dans les relations, cette reconnaissance de la féminité dans la prostitution expliqueraient l'adoption d'une lingerie raffinée et la consommation, au début des années 1980, des dessous provocants. Les stratégies de la publicité auraient vite fait de transformer ce qui était, au mieux, une pose esthétique en un acte de liberté et un principe de séduction. L'histoire des dessous raconte l'entrée des artifices de la femme légère dans le foyer conjugal. L'affirmation du corps qui traverse justement les deux dernières décennies du siècle, n'entrave pas le développement de la lingerie raffinée, au contraire, celle-ci trouve des formes à sa hauteur et rencontre un désir renouvelé de séduction de la part d'une clientèle féminine et masculine en quête d'une féminité plus érotique. C'est la description, aussi évocatrice que possible qui permet à l'imagination de se représenter mentalement l'idée de l'objet. L’image visuelle n’est ni la réalité, ni un calque de la réalité; mais l’évocation d’une réalité perçue, une réalité reconstituée dans ses traits saillants grâce à l’art de l’écrivain. La littérature place le lecteur dans une disposition d’esprit, une posture qui lui permet de «voir» mentalement l’objet représenté, pas de le voir physiquement mais de l’imaginer en faisant appel à son expérience. L'image artistique ou poétique n'est pas seulement une reproduction, une imitation, une description de la réalité, c'est une expérience esthétique. Toute la littérature est là pour nous dire que l'image est illusion.
-*- La società leader della ricerca su Internet Google sta tenendo colloqui per l'acquisto di YouTube, principale sito web di video per il divertimento, per una cifra vicina a 1,6 miliardi di dollari (più di 1,2 miliardi di euro). YouTube è diventato il più popolare sito web dove gli utenti possono scambiarsi video e filmati digitali ottenendo così un successo e una popolarità strepitosi. --- La bionda del Web, truffa o realtà? Il dubbio è che si tratti di un'operazione di "guerrilla marketing". La signorina è bella, formosa, vistosa. E ha addosso un intenso profumo di imbroglio. Quel sorriso, quella scollatura, corrono nel Web, sfilano sui blog e animano il dibattito. E i dubbi di chi sospetta che la vicenda in realtà non esista ma si tratti di una trovata pubblicitaria low cost per promuovere qualcuno o qualcosa. Questa è la storia, o la sua versione ufficiale: la ragazza nella foto ha smarrito la sua fotocamera in Gran Bretagna, mentre era in vacanza. Qualcuno l'ha trovata, le foto sono finite su internet, per la precisione sul social network Facebook frequentato da oltre 12 milioni di utenti. L'interesse dei navigatori - un po' meno delle navigatrici - è stato immediato. E su Facebook è nato un gruppo ad hoc, per dare la caccia alla misteriosa bionda. Se è guerrilla marketing, è fra le operazioni più brillanti che mi siano mai capitate perché, pensi che mostrarsi in mutande e reggiseno procuri credibilità? Questa ragazza va aiutata. Perché una che si fa le foto da sola, mezza nuda, in una stanza, davanti allo specchio, certo non sta troppo bene. Il sospetto, insomma, è che si tratti di una di quelle operazioni che hanno lo scopo di far circolare il nome di società, prodotti o servizi con una spesa minima e un'intuizione geniale. Il marketing virale è un tipo di marketing non convenzionale che sfrutta la capacità comunicativa di pochi soggetti interessati per trasmettere il messaggio ad un numero esponenziale di utenti finali. Il principio del viral marketing si basa sull'originalità di un'idea: qualcosa che, a causa della sua natura o del suo contenuto, riesce a espandersi molto velocemente in una data popolazione. Come un virus, l'idea che può rivelarsi interessante per un utente, viene passata da questo ad altri contatti, da questi ad altri e così via. In questo modo si espande rapidamente, tramite il principio del "passaparola", la conoscenza dell'idea.
-*- Internet & videoweb, the new videogames -*- search leader Google is snapping up YouTube for $1.65 billion.
-*- Die Übernahme der Videoplattform YouTube durch Google sorgt derzeit für Aufregung. Videos gelten als stärkste Form der medialen Verbreitung. Die Übernahme hätte für beide Unternehmen wesentliche Vorteile. Zum Einen kämen dem Video-Protal die technischen Ressourcen zu Gute und zum Anderen ergibt sich für Google so eine attraktive Plattform um weitere User zu binden und im Zuge dessen auch Werbung zu schalten. Der oder das Fake (englisch „die Fälschung“, „der Schwindel“) ist der US-amerikanische Jargon-Begriff für eine Fälschung oder einen listigen kleinen Betrug. Diejenige Person, die den Betrug ausübt, wird Faker genannt. Das Wort ist ein typisches Beispiel von Netzjargon, dem Wortschatz der Menschen, die sich der Internetkultur verbunden fühlen.

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.

Op zoek naar de geheimen van het vak acteren

    Gevraagd naar het geheim van zijn acteren, zei Julien Schoenaerts: ‘Het is iets durven zien als een kind, met de ogen van een kind. En daar is je hele lichaam bij betrokken, tot in de laatste vezel. Het is instinct. Het is kennis. Het is weten en geweten. Het is de gevoeligheidsgraad van het oog, in het station, op café, op straat. En dan, vele jaren later, denk je er weer aan. Het is gnosis. Het is kennis hebben van mogelijkheden van de fysica die in beweging wordt gebracht door het instinct. Of door de ziel, als je in een ziel gelooft. En het is boven alles mysterie, ook voor mezelf".
    Julien Schoenaerts’ houding tegenover de acteertechniek is ambivalent. Enerzijds verwerpt hij ze als toverdoos voor eindeloze zelfherhaling (‘Theater heeft helemaal niets met techniek te maken. Een scène twee keer hetzelfde spelen? Ik zou me zelfmoorden omdat ik sta te hoereren met techniek’, zegt hij in 1990 in een gesprek met Fabian Tax), anderzijds erkent hij haar belang als basis vooreen persoonlijke acteerstijl en daarenboven voor alles wat met kunst te maken heeft. Als voorbeeld geldt de pianist die eindeloos zijn techniek oefent om hem daarna te laten samenvallen met de gevoeligheid (lees: de muzikaliteit) waarmee de muziek dient gespeeld en waarbij je geen techniek meer hoort omdat hij enkel nog onderhuids aanwezig is. In wezen gaat het om mystiek, om een instinct. Aan de basis daarvan ligt techniek, maar die op zich-zelf kan nooit een groot acteur vormen. De ambitie van het acteren moet immers eerst en vooral ‘doorgeven van leven’ zijn.
    Schoenaerts’ acteren richt zich hoofdzakelijk op doorleving. Hij koppelt een sterke psychologische inleving aan een poëtische gevoeligheid voor de tekst en een uiterst genuanceerde zegging. In de jaren ’80 raakt Schoenaerts steeds meer in de ban van zowel de persoon als het toneeloeuvre van Samuel Beckett, die hem boeit door de steeds herhaalde vraag van wat Eugene Webb ‘de betekenis van het menselijke leven’ noemt: Instead of developing in a continuous line according to the internal logic of a set of ideas, they (The plays of Samuel Beckett) walk around and around a central problem, trying to describe all sides of it. This problem is the meaning of human life: what it is, how it has become what it is, and what it might become.
    Al vanaf zijn eerste jaar bij het Nationaal Toneel worden Schoenaerts’ sobere acteer-stijl en zijn specifieke stemtimbre en tekstzegging opgemerkt. ‘Een onfeilbare en ontroerend rake zegging’, heet het in 1955 bij de toenmalige paus van de kritiek, Maxim Kröjer en dat wordt een constante in de bespreking van zijn acteerprestaties, met als varianten ‘rake toon’ en ‘intelligente zegging’ en als epitheta ornantes ‘soepele intonatie’ en ‘buitengewone zin voor nuancering’. Al is de appreciatie voor die erg persoonlijke acteurs tekst-behandeling niet helemaal unaniem. Hier en daar worden hem zijn ‘traditionele d(r)eun’ en zijn ‘monotone, onverantwoord-afgebroken zegging’ verweten. Helemaal onjuist is deze relativerende bijstelling niet, ook jongere generaties alerte schouwburg-bezoekers ontdekken er een maniëristisch trekje, zelfs iets van een mystificerende pose in, maar het wordt het godenkind grif vergeven omdat hij ook dat maniertje zo prachtig in de hand houdt en uitspeelt tot in het laatste ademtochtje toe.
    Over de soberheid van zijn acteerstijl daarentegen, is men het wèl in alle talen bewonderend eens. Daarin schuilt volgens de commentatoren zijn grote kracht om een meeslepende, realistische karakterschets neer te zetten (en ‘realistisch’ dient hier ongetwijfeld niet in de nabootsende maar in de authentiek-persoonlijke zin begrepen te worden). Die soberheid past overigens als een handschoen Schoenaerts’ uitspraak in 1970 in Het Vrije Volk,dat ‘men in het theater niet met het bevredigen van eigen ijdelheden mag bezig zijn’. Een grote troef blijkt ook wat men ervaart als zijn sterke inlevingsvermogen. In 1958 luidt het in De Gentenaar: ‘Schoenaerts leeft zich totaal en in alle scherpte in zijn personage in en geeft die indruk onmiddellijk en eveneens in alle scherpte door aan zijn publiek, zonder de minste poging om dat op te voeren of te forceren. Julien Schoenaerts, een acteur die op heel wat mensen een ongelofelijke indruk heeft gelaten.
(bron: www.podiumarchief.be)