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1. Expansive Mayhem

   The interpretive dance performance seeks to evoke the experience of a concussion and does so by clustering six dancers on a side of the stage using red lighting to suggest a sense of the inside of the speaker’s head. When the dancers are clustered, swaying semi-coherently, they evoke the sense of a brain function normally, but as the piece progresses it begins to unravel, as the dancers spiral out of control. Their disjointed movements as they each dance on their own, spread around the stage mimics the cognitive impact of a concussion, echoed by the language hovering over them. The dance performance concludes by returning to normal function, urgently, as one of the dancers runs around the reorganized collective, as if trying to hold them together by sheer force of will as the screen and stage fade to black, leading us to wonder. Has the brain been healed? Has normal language function returned?

   “Expansive Mayhem”
   Choreography: Julia Tedesco and Ellie Sanna
   Poetry: Loss Pequeño Glazier (“Io Sono At Swoons “)
   Music: Jai Uttal and Ben Leinbach
   Dancers: Melissa Hunt, Marika Matsuzak, Stephanie Ohman, Sammi Pfieffer, Samantha Will, Jessica Viglianco

   Hannelen Leirvåg - 28.04.2013 - 18:38

2. Welcome to Pine Point

   his award-winning Web documentary about a short-lived mining town in Canada made the 2011 New Media Writing Award shortlist. A masterful, lovingly produced piece is challenging to categorize in terms of genre: is it a video (its interactivity and born-digital ontology make it difficult to label as “film”), memoir, narrative, poem, or an artistic website? As a multimedia work (using audio, video, text, images) that requires multimodal engagement (reading, listening, viewing, interaction) from its audience, it is fittingly multi-generic. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 28.04.2013 - 18:55

3. Etymon / Encarnación

   The opening performance in “Language to Cover a Wall” is about the word made flesh: Glazier reads his poem “Etymon / Encarnación” while a young woman dances to the rhythms of his voice. The words juxtaposed in the title both gesture towards primeval origins of language: etymon refers to the origins of words, while encarnación is about the immaterial gaining a body. And we can’t help but notice the bodies on stage: Glazier sitting in a chair, reading his poem engrossed in the words on the page, gently swaying like José Feliciano. The contrast of a young female dancer in a white dress, interpreting lines of sounded breath with her body, bending her articulations with an agility matched only by the poet’s vocal articulation of the poem.

   Poetry: Loss Pequeño Glazier (“Etymon / Encarnación”)
   Dancer: Sarah Burns

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 03.05.2013 - 16:58

4. The World As Yours

   This performance is about circularity: counterclockwise rotation of letters and words around a central axis on screen, dancers enacting different kinds of spins and gyrating movements focused around a globe. Each concentric line rotates at different speeds, aligning the letters from different lines to generate intriguing combinations. As the performance progresses, the word rotation gradually speeds up until the words become a rapid stream, suggesting an acceleration of time. The dancer’s movements speed up as well, as their playful interactions with the globe become increasingly frantic yet gentle, much like the music by The Kronos Quartet.

   Choreography: Kerry Ring
   Poetry: Loss Pequeño Glazier
   Music: “White Man Sleeps” composed by Kevin Volans,
   Performed by The Kronos Quartet
   Dancers: Julia Tedesco, Ellie Sanna, Meghan Starnes

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 03.05.2013 - 17:09

5. Any Vision

   This work is published as a video documentation of a simultaneously analog and digital poem— an instance of extreme inscription as described by Matthew Kirschenbaum. Written on a semiconductor alloy with “a focus GA ion beam” at font sizes much smaller than a pixel, requiring an electron microscope with magnification “ranges from 400x all the way to 10000x.” The naked eye cannot read this poem unaided, so the video takes us through an edited journey into the poem’s text reminiscent of Prezi, but much cooler in its materiality. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 07.05.2013 - 11:52

6. Paper Wounds

   “Paperwounds,” is an intimate look into the sometimes-surreal, often-manic realm of the suicidal and depressed. It is an intense snapshot of the numerous facets that go into the decision of taking one’s own life, each of its disparate parts aligning to form a piecemeal narrative readers may only ever really guess at in its entirety. Presented as a crumpled up piece of paper, readers “unwrap” the suicide note by clicking on the highlighted/pulsating words within its folds. Doing so exhumes other, shorter notes the writer placed within the virtual letter, each one a different illustration of–perhaps–what drove the fictional victim to this ultimate negation of self. The interface, technological sounds, and brief animations when you mouse over certain texts combined with the ruined state of the materials create a forensic tone for the work, casting the reader in the role of an investigator. The poem may be zoomed in on, zoomed out from, flipped, rotated, dimmed, and made completely invisible–though doing any of the aforementioned does not seem to change the nature of the text at first glance.

   Ian Rolon - 09.04.2014 - 19:44

7. Flow

   [ flow = lecture performative narrative ] Opus n° 2 de la série des flux commencée avec « flog ». Flow est le texte d'une fiction construite à la fois sur des moments issus de mon histoire familiale, de l'actualité contemporaine en matière de politique de l'accueil des étrangers et de l'histoire qui nous est contée dans le film Lettre à mon ami Pol Cèbe, 1970, de Michel Desrois et avec Antoine Bonfanti et José Thiais, des groupes Medvedkines.

   Flow croise différentes époques et régimes narratifs : histoire familiale, histoire politique (les Groupes Medvedkine) et actualité contemporaine.

   Flow s'attache à conter une histoire, celle d'une bande d'amis ouvriers, qui un jour de 1967 partent en voiture pour Lille, projeter l'un de leurs films dans un cinéma. Ils prennent en autostop un homme avec une drôle d'auréole sur la tête, à leur demande, celui-ci leur raconte une histoire. Il leur conte celle de mamy Mireille de Sangatte qui en 2008 sera mise en examen pour délit de solidarité. Le texte met en scène le téléscopage de ces deux époques, l'une ravivant l'autre, à quarante ans d'intervalle...

   Luc Dall'Armellina - 03.07.2014 - 17:52

8. HD pen

   HD pour Haute Densité (High Density) mais également pour Harley-Davidson car ma moto est de cette marque, fabriquée à Milwaukee, WI, USA, c'est un modèle Sporster XR 1200 à la géométrie très européenne. C'est sur elle que j'ai filmé un parcours depuis mon domicile (Montreuil) jusqu'au département des cartes anciennes des Archives Nationales (Pierrefitte-sur-Seine). C'est par la vidéo qu'est rendu ce parcours, augmenté, en filigrane, par la lecture (simultanée en français et en anglais) d'un texte venant sampler et discuter celui de Jorge Luis Borges « De la rigueur de la science » dans l'Histoire universelle de l’infamie/Histoire de l’éternité, p. 10-18, Paris (1951, 1994). Dans ce texte l'auteur se livre sous la forme d'une fable, à une réflexion sur le rapport de la carte et du territoire, et pose finalement la question des rapports des arts et des techniques, de la science et du sensible. Je poursuis ici l'idée d'une écriture par le trajet, non déterminé par la nécessité de rejoindre un point donné comme un GPS nous aide à le faire, mais en dessinant sur la carte, des lettres formant quelques mots.

   Luc Dall'Armellina - 10.10.2014 - 15:40

9. Inanimate Alice - Language Learning Journals

   A series of interactive journals which follow Alice aged 18 during her gap year. A unique mix of audio, visuals, films and interactive word games.

   Andy Campbell - 10.10.2015 - 22:09

10. Fractalize 1: I've loved you from afar

    FRACTALIZE is a hypermedia fiction project created by Tony Vieira, with Lesley Loksi Chan and Arthur Yeung. The first installment, ”I've loved you from Afar,” is a fractal reminiscence of a romance across space and time. Created for Supercrawl 2017, a four day art and indie music festival in Hamilton, Canada, Fractalize is intended to exist both inside a gallery space as much as within the audience member’s smartphone. Narrative “fractals” will be delivered over the course of the five day ELO Conference and Festival via email and social media, with intentional knowledge gaps that users fill in based on their own experience, anxieties, and desires. Users experience the project in the form of VR/360º video gallery exhibit, video walks, web videos, photographs, original music, text messages, sound art, Spotify playlists, and social media posts. Characters within the narrative have their own social media identities which are regularly updated over the course of the exhibition, creating a blurring of the lines that separate reality and virtuality.

    Nina Kolovic - 26.09.2018 - 15:12

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