live performance

Drone Pilot is a work of voice/sound poetry about a person who becomes part of a huge impersonal war machine, connected to a network of power and violence, which ultimately erases the person's individuality. My work is focused on the entanglement of humans and machines. I'm interested in how a mind can be imprinted with digital logic, and how digital and human memory can extend each other. I perform my work with just my voice, without electronics, but electronics are always present, in the aesthetics of the performance and the electrical currents of the body.

(Source: Author)

‘Throwing Exceptional Messages’ is a performative work that frames theoretical critique as practice in a gallery setting. The work uses a deconstructive methodology derived from Jacque Derrida’s practice of ‘sous rature’ to perform critique upon a particular moment in the historical formation of the field of ‘codework.’ The term codework was established in 2001 and attempted to describe literary works that were developed from or included elements of computer code. The taxonomy of this field, formalised by Alan Sondheim, was contested by John Cayley on the basis that ‘non-executable’ work should not be included into the field as ‘code’ referred to as ‘executable’ text. By bringing the thesis of this research into the gallery space the performer uses the theoretical methodology as a practical methodology to produce critical artefacts. The thesis is placed under erasure within a system that produces computational ‘exceptions’ or ‘non-executables’ as work. These exceptional texts are ‘caught’ and ‘handled’ within the performance as a mode of production and are transformed into physical ‘objects’to be ‘thrown’ into the space. The resulting exceptional texts are developed from this codework divide yet they can no longer be read along these terms.

“All Hands Meeting” is a live performance that uses aestheticized speech to engage conceptually with human/ machine entanglement. The piece consists of a monologue delivered by a semi-synthetic boss to an audience of interns. Three new strategic initiatives are presented: an app, a poem, and a political movement. This version of “All Hands Meeting” is site-specific to ELO 2017.

(Source: ELO 2017 Book of Abtracts and Catalogs) 

In collaboration, two become one, but the process isn’t always easy—it requires constant negotiation. Who speaks and who is silenced?In “June 17th” two figures attempt to tell one story, in the process raising questions about how we narrate and construct our lives, who we are, and what we know. Based on Borsuk and Andy Fitch’s As We Know (Subito, 2014), an erased and redacted diary that presents the most unmediated-seeming idiom—the diurnal, journalistic record—as itself the consequence of methodical and whimsical extraction, this project foregrounds the tensions of authorship that arise within the text.

Langlibabex is a multilingual collaboration that departs from our shared experience of reading and responding in constrained poetic forms to Jorge Luis Borges’s short story “The Library of Babel.” As collaborators who met at ELO 2014 and shared conversation in three languages, we are committed to working in French, English, Portuguese, and Spanish, and translating one another’s work across continents and media.

(Source: ELO 2015 catalog)

Separation: an online creation and a performance based on the separation of words. The creation entitled Separation takes two forms (an online creation - for PC, tablet and smartphone – and a live performance). It is the result of a collaboration between the ALIS performing arts company (http://www.alis-fr.com/) and the i-Trace digital collective (http://i-trace.fr/). This creation (in its versions for the stage and for the Web) deals with the theme of separation (considered as both detachment and rupture). The creation is based on the ALIS company’s work on the separation of words. Indeed, the company has invented a technique called la Poésie à 2 mi-mots (two half-words poetry or cutting edge poetry), and has been developing it for the past ten years. This technique makes it possible to create sequences based on the idea that words which are halved horizontally, contain the half of other words (http://www.alis-fr.com/site/?q=node/26). These often humorous productions raise fundamental questions about the language, the writing process and the Digital. The website (in progress): http://i-trace.fr/2013/separation/alis An online version for PC and an app for tablets and smartphones will be available in 2014. In the live performance, we will use a tablet, a PC and a Kinect device. We will make the audience participate: they will propose words that we will manipulate. (Source ELO Conference 2014)

How do we perform ourselves in digital space? In Not Not 0.1, Catherine Siller uses her own custom software and a motion capture camera to generate projected text and images of herself. She immerses herself in these projections and dances between the virtual and the real in a duet with her digital double. The piece destabilizes language and gesture as it repeatedly redraws the boundary between the physical and the digital self.

(Source: ELO Conference 2014)

Tales from the Towpath is an immersive story inspired by Manchester’s waterways and their ecological fate. It spans the Victorian city to an uncertain future 50 years from now. Three characters circle one another across time, with fragments of their stories found in geocaches (past), live performance (present) and augmented reality Zappar codes (future). (Source: http://talesfromthetowpath.net/)