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1. Out of Touch

   In our world of perpetual connectivity, touching interfaces that keep us out of reach, we form attachments whilst remaining detached, by turns kindling and dampening emotions. Conceived as the first in a series of musings on the paradoxical and sometimes poignant nature of human relationships amid networked life, Out of Touch was created in Flash and incorporates text sequences, randomness, intensively filtered video, sound and cut-up voices.

   This Out of Touch episode was commissioned by the San Francisco Museum of Modern Art for the Third Hand Plays series curated by Brian Stefans, who wrote:

   Christine Wilks - 07.10.2011 - 15:29

2. TRANS.MISSION [A.DIALOGUE]

   TRANS.MISSION [A.DIALOGUE] is a computer-generated dialogue, a literary narrative of generations of transatlantic migration, a performance in the form of a conversation, an encoded discourse propagating across, beyond, and through long-distance communications networks. One JavaScript file sits in one directory on one server attached to a vast network of hubs, routers, switches, and submarine cables through which this one file may be accessed many times from many places by many devices. The mission of this JavaScript is to generate another sort of script. The call “function produce_stories()” produces a response in the browser, a dialogue to be read aloud in three voices: Call, Response, and Interference; or: Strophe, Antistrophe, and Chorus; or Here, There, and Somewhere in Between.

   J. R. Carpenter - 27.03.2012 - 10:43

3. make-shift

   make-shift is a house party, performance, and networked salon. Each live event telematically connects participants in two ordinary houses and an online performance space, using the cyberformance platform UpStage (www.upstage.org.nz) in conjunction with audio-visual streams from the two houses. The theme of the work centers around consumption and disposal in late capitalism. Crutchlow and Jamieson describe themselves as "brokers" of the event, combining scripted performance with improvisation and activities in which everyone participates in various ways, becoming co-authors in a collaborative process. 

   Eric Dean Rasmussen - 02.05.2012 - 11:00

4. 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

5. Borderline

   Borderline is a performative piece concerned with time-based and improvisational action, in which two participants interact together within an audio-visual environment to gain a sense of the project’s latent narrative identities. Borderline will re-deploy VJ software technologies (using MIDI with MAX-MSP) to develop a dual interaction experience that uses hand-based gesture (via two graphic tablets and their pens) instead of the established hyperlink model. This will help foster a ‘computer system as instrument’ analogy in which the participants’ can ‘improvise’ ‘play’ or ‘perform’ set of narrative dualities. An often-levied criticism of VJ output is its preference for visual abstraction over content (Amerika 2005). In terms of the narrative, Leishman will both develop a new bank of non-abstract imagery, audio and animation to convey the theme of dualism. This will be based on research into borderline personality disorder (visualizing the problems of disassociation and hysteria through image, movement and narrative structure).

   Elisabeth Nesheim - 24.08.2012 - 15:03