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1. Enter:in' Wodies

   Enter:in' Wodies is the intermedial installation, where the person interacts with the work via motion sensing input device Kinect. The main idea is to imagine the person, whose interiour you would desire to read. You can choose from two models – man or woman. After the first text that explains the initiation to enter other person, you interact with the work by choosing the body parts by touching with your hands the imaginary being. The body parts refer to seven organ systems. To reveal the poems connected with the particular human biological systems, you have to make movements with your hands to uncover the words (interaction area is defined by your physical distance of hand from the sensor). The revelation of each part brings about the biological image of its cell textures, of the music (which has its unique corresponding sound that goes with the main melody) and of the poetic text about the system's exceptionality. After having read all the pieces, the final text appears that informs about your leaving the other person's body.

   Zuzana Husarova - 30.09.2011 - 17:04

2. NONCE.EXECUTOR (disposable language)

   Nonce.Executor is a video poem.

   Talan Memmott - 22.10.2012 - 00:37

3. In Your Voice

   These two video poems integrate four elements: Natalia Fedorova’s voice reading silky lines of her sonorous poetry in Russian, a Mac Os text to speech voice reading a translation in English, Taras Mashatalir’s haunting musical soundscapes, and Stan Mashov’s conceptual videos. The contrast between Fedorova’s voice, even though it’s been transformed through sound engineering, and the mechanical reading provided by the software emphasizes how much meaning inheres in breath, tone, and intimacy when performed “in your voice.” The video is composed of fragmented flowing surfaces which contain images that enhance the experience of the poem, while the music helps shape the tone and pulls the work together by situating the voices within the space evoked by the visuals. (Source: Leonardo Flores, I ♥ E-Poetry)

   Natalia Fedorova - 26.01.2013 - 15:17

4. Flu

   [ flu = lecture performative de flux erratiques ] Opus n° 3 de la série des flux, flu est constitué de la lecture performative scénique d'un texte sur prompteur numérique fait de flux erratiques viraux. flu, c'est la grippe, "l'influenza", son mode viral, contaminant, qui est aussi celui du langage. Dans ce récit de 12 minutes, un homme et une femme dérivent amoureusement sur une plage, ils se livrent durant ce temps à un jeu de creusement de la langue à partir du test de l'alouette. « ... ici le flux textuel erratique est reprojeté sur le retour vidéo, il lit et découvre du même mouvement, c’est ce qui donne cette très belle incantation à la voix perpétuellement dans l’imprédictible... » François Bon. Le test de l'Alouette est un test de lecture de Pierre Lefavrais (1965) qui permet d'évaluer le niveau de décodage lexical (automaticité). Il sert de dépistage de la dyslexie. Il est ici mise en abîme de la performance elle-même car flu (comme les précédentes flow et flog) est une lecture rapide d'après prompteur sur écran qui met en péril la lecture, poussée à ses limites.

   Luc Dall'Armellina - 03.07.2014 - 17:47

5. Give Me Your Light

   One day in 2008 in Malaysia, by chance, I videotaped two starkly ordinary events: a dying kitten and a chained monkey. Give me Your Light explores the archetypal capacity of these creatures. The archetypes are death and enslavement. The dying abandoned kitten in a parking lot stands-in for the fatally ill, homeless runaways and abandoned children. The chained monkey suggests slaves, prisoners, abductees, captives, convicts, detainees and internees. Give me Your Light is about the limits of empathy and ubiquitous complicity. The display of Give me Your Light is not a linear video, it is a set of video-clips, sounds, music and words reassembled every two minutes into a new sequence by an algorithm. Events repeat but never in the same order. Clips appear in both monochrome and colour, with music and without, with sound and silent. Contextual structure and affective content collide. (Source: http://glia.ca/2011/BNL/)

   Daniela Ørvik - 05.02.2015 - 15:13