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1. Pentameters Toward the Dissolution of Certain Vectorialist Relations

   John Cayley reads John Cayley reads and discusses his poem PENTAMETERS TOWARD THE DISSOLUTION OF CERTAIN VECTORALIST RELATIONS (which examines the effect of Google on language and poetics) with discursive and conversational interrupts from Jhave.

   Recorded on John's Providence, Rhode Island home as part of i2.literalart.net/ on 12 Feb 2012.

   (Source: David (Jhave) Johnston's vimeo account.)

   Eric Dean Rasmussen - 12.03.2012 - 16:39

2. There he was, gone.

   How do we piece together a story like this one? A mystery. The title offers more questions than answers. There he was, gone. Where is there? Who is he? Where has he gone? How is this sentence even possible? There he was, not there. As if "he" is in two places and in no place, both at once. The once of "once upon a time." This story has to do with time. This story has to do with place. That much is clear. We take time to look around the story space. What do we see? A corner of a map. An abstraction of a place too detailed to place, unless the places it names are already familiar. Is this a local story then? For locals, between locals… if we do not know the answer to this question, then we are not local. We seem to have stumbled upon an ongoing conversation. Listen. A dialogue of sorts. It's too late. An argument, even. One interlocutor instigates. Can't you feel anything? The other obfuscates. It's only the spring squalls over the bay. All that's not said between these two hangs in a heavy mist, a sea fret low over a small fishing boat turned broadside to a pack of hump-backed slick black rocks. This story is fishing inshore.

   Scott Rettberg - 01.06.2012 - 17:29

3. Baby Work

   BABY WORK is the 3rd edition of Cheang's LOCKER BABY PROJECT which consist of:
   BABY PLAY (2001, NTT[ICC], Tokyo) and BABY LOVE (2005, Palais de Tokyo, Paris).
   The Locker Baby project conceived in 2001 reflects a time when bioscience is accused
   of out of control and scifi fantasia brings forward the future. Deriving from Ryu
   Murakami's noted novel Coin Locker Babies (1980) of post-war Japan , the Locker Baby
   Project further contests the mother’s heart beats that are so desired for clone babies
   born out of lockers. A fictional scenario set in 2030 - the transnational DPT (DollyPolly
   Transgency) produces and engages clone locker babies in negotiating human "Memory"
   and "Emotion”. The clone baby holds the key to retrieve the networked inter-sphere of
   ME-data embedded in a playfield of sonic imagery triggered only by human interaction.
   In BABY PLAY, an oversized baby football field with clone baby players; in BABY LOVE, a
   ride in 6 motorized fairground teacups with love song remixed by clone babies; in BABY

   Elisabeth Nesheim - 16.08.2012 - 16:09

4. 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

5. 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

6. Do Not Forget It

   This performance of Alferi’s 2002 cinépoème “Ne l’oublié pas” arranges three lines of poetry that change at different rates (the last one doesn’t change) to create different phrase combinations that lead to the same conclusion. The result appears to be combinatorial, but because the medium is video, there is actually an unvarying sequence, so it evokes how a multiplicity of experiences and rapid sensory information enters the frail storage medium that is memory.

   The dancers move in ways that evoke the process of creating memories and attempting to keep them. Their dance leads to poses and pauses, some of which contain reminders of where thoughts are stored. The use of a lead dancer is an important strategy in the performance underscores an intuition to be found in Alferi’s video poem: that variation is memorable. Note how with her distinct costume and dance, framed by the other dancers moving in recurring poses, the lead dancer captures and commands attention, pulling together the fragmented performances into a coherent experience.

   Hannelen Leirvåg - 03.05.2013 - 17:16

7. Bindings

   This powerfully expressive nonverbal poem builds on the title, with the dancers’ actions and movements in front of a video produced by Jhave. The first meaning of bindings is clear as the dancers come on stage boung by strips of fabric or are bound by other dancers. This act is portrayed in different ways— forcefully, gently, voluntarily, but never cruelly— yet the soft materials seem very effective in handicapping the dancers, who continue to dance oddly, as if exploring their new bodily conditions. As the piece progresses they are all freed, yet this seems to bring no solace to their bodies, which continue moving awkwardly.

   Choreography: Brianna Jahn
   Poetry: Jhave
   Dancers: Kate Kenyon, Ashley Peters, Holli Simme, Samantha Will

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

   Hannelen Leirvåg - 03.05.2013 - 17:21

8. Rhythmus 21

   This nonverbal piece juxtaposes a single dancer with Hans Richter’s 1921 Dada film. In this film white, black, and grey rectangles move in and out of the screen, shrinking, growing, and changing shapes. The dancer’s movement cast shadows upon this surface as she spins, poses, reaches out with her arms and legs in ways that make me wonder whether she is interpreting letters upon this stage and screen. Is she writing on these spaces? If so, her letters are not the static things we’re used to inscribing on a page or word processor. These are letters that feel at home on a time-based medium, such as the stage and this film by Richter. And in good Dada tradition, they are freed from meaning.

   Choreography: Shelley Hain
   Film: Hans Richter (1921)
   Music: Sue Harshe
   Dancer: Danielle Delong

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

   Hannelen Leirvåg - 03.05.2013 - 17:30

9. Signal Box

   This piece is performed to the beat of a metronome playing at 100 BPM (beats per minute), the fast end of the andante tempo. That allows for Hatcher to read his poem “Control Relay Logic” one word at a time, adjusting the duration of each word to fit the space between beats, as is customary in rap music. This externalized rhythm for the poem makes the spoken word strange, but also musical, allowing Hatcher to repeat words beyond what he might pull off with a traditional reading. The dancers’ movements are also timed to that beat, making their synchronized movements somewhat mechanical. Their repetitive motions are also appropriate in this context, making them seem like logic gates, electronic switches, parts of a machine that is processing information in an orderly fashion.

   “Signal Box”
   Choreography: Hayley Sunshine
   Poetry: Ian Hatcher (“Control Relay Logic”)
   Dancers: Kara Hodges, Brianna Jahn, Ashlee Lodico, Marika Matsuzak, Megan Starnes

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

   Hannelen Leirvåg - 03.05.2013 - 17:57

10. Trickle

    This performance of Piringer’s video poem “Broe Sell” extends the Lettrist dynamics occurring on screen onto the stage and the dancers. There are two significant props: a white sheet on the ground that may represent a page or screen surface, and a constant trickle of little crumpled pieces of paper falling on a spotlit space in the front of the stage. The dancers act like letters— or better said, letters placed in Piringer’s hand, which leads them to behave much differently from what we’re used to seeing on page or screen. In synch with the music and displayed video poem, the letter-dancers cluster and disperse, articulate their joints, collapse, rise again, and gaze time and again at the paper trickle.

    Choreography: Kristina Merrill
    Poetry: Joerg Piringer (“Broe Sell”)
    Dancers: Jenny Alperin, Andrea Fitzpatrick, Kara Hodges, Stephanie Ohman, Lexi Julian

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

    Hannelen Leirvåg - 03.05.2013 - 18:02

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