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1. Influencing Machine of Miss Natalija A.

   A video installation.

   Zoe Beloff’s "Influencing Machine of Miss Natalija A." is a Flash adaptation of a multimedia installation of the same name created by Beloff in 2001. This web-enabled version combines video, text, audio, and animation to tell the story of Natalija A., a psychiatric patient who was unable to communicate except through writing. Natalija believed that she was being controlled remotely by an “influencing machine,” a mechanical model of her body created by a doctor in Berlin which could be manipulated to control her telepathically. Based on an actual 1919 account of Viennese psychoanalyst Victor Trausk, Beloff’s work contains passages from Trausk’s notebooks, simulated effects of the “diabolical machine,” surrealist footage of medical procedures, and video clips of the actual broadcast technologies that emerged during the early twentieth century to influence populations worldwide.

   (Source: Davin Heckman's description in the Electronic Literature Directory)

   Scott Rettberg - 16.06.2012 - 22:03

2. (S)PACING

   (S)PACING is a poetic performance piece that reflects upon the nervous habit of pacing and ideas of internal dialogue while walking as a source of poetic inspiration and contemplation, if not procrastination. The application for performance can either be played on the keyboard, or use live video motion tracking to access and combine screen-based still image, video, text, and audio content. The title of the piece refers not only to the act of pacing but also to pacing as a measure of time. The addition of the (s) at the beginning of the title, rendering the title spacing, could be said to refer not only to the locative and defamiliarizing spatial variations in the piece but also to formal aspects of poetry such as meter, feet, line breaks and stanzas. Though the performance, the actions of the performer may be fundamentally pedestrian they are put in contrast with mental and poetic machination in terms of the poetic output generated by the movement. In effect, the performer develops a system of, and has live action control over the scansion of the generated poem while handing over control of the vocalizations, imagery, and textual display to the application.

   Talan Memmott - 22.10.2012 - 00:40