performance

The poem is an interactive experience. You can play with the words and the spanish sounds to make your own audiovisual construction.

You can know more of her and her work on http://www.uvm.edu/~tescaja/home.htm

“Welcome to Air-B-N-Me.” In this exchange economy, we share our cars, our homes, and all our stuff. What if we could share our lives? If you ache to be anywhere but here, welcome to Air-B-N-Me, a new experience in lifeswapping. When you feel like checking out of your own life, check into somebody else’s. Why not turn your downtime into a timeshare?

Material Studies is a series of videos that engage the viewer in a synesthetic experience. The work is a poignant act of resistance against the meat industry. It proposes vegan and feminist perspectives of our embodiment of reality. Witty poetry meets “networked vegan edible language sculptures,” says Claire Donato. The studies are based on a work-in-progress titled “Gravity and Grace, The Chicken and the Egg, or: How to Cook Everything Vegetarian.”

(source: https://conference.eliterature.org/sites/default/files/ebook_elo17_fina…)

A Brief History of Loss is a heavily mediated performative lecture that is not only an extension of deep repetition and radical sameness, but a form of (non)reading put at odds with itself. How might these differences of reading information and meaning not be reduced, but contradicted? How might a text engage the form of the page and document as a space that provides platforms for close readings as well as keeping those readings at a distance, not something to read insofar as something to be looked at and thought about. Best situated within the “Translation” strand, ABHoL aims to expose and conflate mediatic and literary reading/writing practices with an unstoppable real time. The performance itself is a translation and shifting between codes, both textual and computational. Framed as an investigation into personal mediatic histories, ABHoL aims to conflate and contradict photographic images, as objects framed to be narrated, with corresponding narration that calls on the document as a performative object and artifact. How might the agent and agency of time, assumed in the aesthetic expressions and conceptual underpinnings of a document, lend itself to a cinematic or mediatic time? A deep and unstoppable real time? What new dialogues/forms Thursday, July 20 • 549 might this tension produce/generate/negate? Loss, like all affects, is held in the face, and a face, like all surfaces, may often be read like a book. As someone else once said, the matter of reading disrupts the continuity between the theoretical and phenomenal and thus forces a certain recognition of incompatibility.

LAMENT is a mixed reality performance that excavates sites, histories, and languages of mining in a poetics of generative telegraphy, geophysical extraction, and the multilingual hauntings of forgotten laborers. Immersed in a lush 3d point-cloud derived from Lidar scans of a defunct copper mine, two performers, I (input) and O (output), operate a custom augmented reality system to extract, hoist, encrypt and decrypt language from original and archival sources while composing through a database of 30,000 telegraph codes used for electrical communications of the mining industry in the 19th and early 20th century. LAMENT is a sited compression of the work, SMOKEPENNY LYRICHORD HEAVENBRED, adapted for the Translations festival and the Mosteiro de São Bento da Vitória. Translation manifests in the work through the reanimation of a mine captured by remote sensing, the use of AR to scan and transform its surroundings, and the multivalent SHUDDERING of telegraphic codes that radiate towards their linguistic surface connotations and their arbitrary meanings in codebooks and encryption techniques. From the data-void, a gap in the (point) cloud at the Thursday, July 20 • 551 center of the system, comes a raining lament that sounds the material substrate of modern network culture, spotlighting labor practices and struggles composing the transnational circuitry of copper - sought-after conductor at the heart of electricity and communications technologies - to render the data that we breathe via encrypted message mined and struck from the historical record by way of pneumatic drill - as code, blast and particulate aftermath of a cabled earth’s wireless imagination *Telegraph codes extracted from The New General & Mining Telegraph Code (1891).

(Source: ELO 2017: Book of Abstracts and Catalogs)

This diptych or bi-fold work presents readers with two re-workings of Lewis Carroll’s “Jabberwocky:” on one hand, a fixed, cyclical hypertext in seven parts (Ouroboros), and on the other, an endless generative deformation that refigures the mock-epic as tennis game in Hell (Jabberwock). Both options are available at the start, but only in faint, translucent lettering. Letting the cursor dwell on one side or the other activates a sound track -- on the O side, a poetic voice whispering words of wisdom; on the J side, various monstrous re-mixes of Thursday, July 2017.This diptych or bi-fold work presents readers with two re-workings of Lewis Carroll’s “Jabberwocky:” on one hand, a fixed, cyclical hypertext in seven parts (Ouroboros), and on the other, an endless generative deformation that refigures the mock-epic as tennis game in Hell (Jabberwock). Both options are available at the start, but only in faint, translucent lettering. Letting the cursor dwell on one side or the other activates a sound track -- on the O side, a poetic voice whispering words of wisdom; on the J side, various monstrous re-mixes of those words. Dwelling on one side or the other will also cause the favored side to become more fully apparent while its opposite fades toward blankness. If the reader pursues this process to the end, which takes only a few minutes, she is invited to complete her Observation by filling out a brief survey asking reasons for the choice of monsters. Dwelling on one side or the other will also cause the favored side to become more fully apparent while its opposite fades toward blankness. If the reader pursues this process to the end, which takes only a few minutes, she is invited to complete her Observation by filling out a brief survey asking reasons for the choice of monsters.

(Source: ELO 2017 Book of Abstracts).

Working with Nicolas Sordello, Lucile Haute posted square images to Facebook with the date, and then deleted it. The image would still exist for some time, accessible trough a direct link to the Facebook server. After this time, only text remained (comments and image text). This started Haute and Sordello's digital ghost hunt. The project started April 17th 2010 and ended September 14th 2011. Users may still access it through the project's website.

This performance was done in French.