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1. Kantye West

   This anonymous Twitter account find poetry in remixing philosophy with the celebrity tweet.

   Hannelen Leirvåg - 08.04.2013 - 14:36

2. Family of silence

   "Family of silence" is the portrait of a Cambodian family, a couple and their daughter, exiled in France before the Civil War and the takeover of the Khmer Rouge the country in 1975. This film is a portrait of the daily life of this family of memory which emerges the deaf the buried memory of the war, exile, the painful feeling of being surviving when other members of the family disappeared.

   (Source: http://www.lindasuthirysuk.com/LindaSuthirySuk_book.pdf)

   Marthin Frugaard - 11.04.2013 - 17:50

3. The Fantastic Flying Books of Mr. Morris Lessmore

   Put yourself in Morris’ shoes as you dive into the story of Mr. Lessmore and his flying friends through Moonbot Studios’ first Interactive Storybook. In this reinvention of digital storytelling you can repair books, tumble through a storm, learn the piano and even get "lost in a book," flying through a magical world of words, giving you a dynamic journey through the story. (Description from morrislessmore.com)

   Sunniva Berg - 18.04.2013 - 12:37

4. speculat1on.net

   Speculation is an alternate reality game that explores the culture of Wall Street investment banks in the context of the 2008 global economic crisis. From cryptographic puzzles and online simulations to live performances and geocaching, Speculation incorporates a wide range of media to build a transmedia world in which the logic of capital has accelerated beyond control. In the process of discovering, decoding, reconfiguring, and remixing Speculation, thousands of players transformed the game into a collaborative platform for speculating on the future of finance capital. (Source: GalleryDDDL description)

   Scott Rettberg - 27.04.2013 - 22:55

5. 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

6. 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

7. 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

8. 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

9. 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

10. 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

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