networked performance

Breathing, video, 10 min. Based on Utterings' recorded live performance of the same title during the STWST48x6 MORE LESS festival in Linz Austria. Edited by Daniel Pinheiro. In this video through the mixing of six audio and video streams emerges an image of a phantomatic breathing, pulsing entity. An entity that thrives through affection, attention, glitches, delays and even voids in a connected environment mediated by machines, cables and compression algorithms.

Huckleberry Finnegans Wake is a combinatoric performance work bringing together Mark Twain’s Adventures of Huckleberry Finn and James Joyce’s Finnegans Wake. With both texts based around river culture, contextual imbrications can be formed by folding one text into the other and through this combinatorial engines can be developed for the texts as well as implied visual and auditory material. Though both source texts are replete with exclusive language (regional dialects, neologisms, etc.) when brought together what emerges is a fantastical environment lacking specificity, but for the rivers (the Liffey and the Mississippi) that run through both. Imagine steamboats on River Liffey, the Pike County dialect being spoken in County Dublin, or Shem and Huck on the banks of the Mississippi.

The development method for Huckleberry Finnegans Wake rests somewhere between the creative and the critical. In one regard, by combining the two source texts a sort of comparative and deconstructive textual analysis can be performed on either text, or both texts in combination. On another level, the work is creative; in that it is generative, performative, and relies on combinatoric principles that lend themselves to emergence.

The performance utilizes a number of applications to generate a multi-modal interpretation of the combined text that includes visual material, audio, and live readings from various combinatorial engines. 

For the past three years, Jhave has been using his Twitter account as a platform for a poetic constraint. Whenever a person follows him (that is, not a 'bot) he writes a tweet poem that is exactly 140 character long. As one can see in All My Tweets, he had started this practice before, but committed to it on February 8, 2010-- "continuing the anti-pragmatic stance of twitting (doesn't that sound absurd?) only whn followed by a non-robot and always with exact letters"-- and has since adhered strictly to the constraint.

Quoted from I ♥ E-Poetry.

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.