Projects

Marlena Corcoran

June 26 2012
Email me: athena@athena-mentor.com

skyline
Skyline Syndicate. Munich: Compact Verlag, 2004
canyonsm
Death in Grand Canyon. Munich: Compact Verlag, 2004.
gendersm
Gender in Joyce, ed. Jolanta Wawrzycka and Marlena G. Corcoran. The Florida James Joyce Series, University Press of Florida, 1997

2012

eye-beam John Cage: A Ruler for Finnegans Wake, a performance reading of John Cage’s acceptance speech for the Carl Szuka Prize Roaratorio, and one page of Finnegans Wake. Part of OPEN CAGE : NEW YORK
– a one hundred minute performative work honoring John Cage in 2012, the centennial of his birth, curated by Morgan O’Hara. June 17, 2012.

“Having my doubts about our ability to accomplish all the work we had to do, and having decided to go ahead in spite of them, I needed to find a way to proceed without becoming frantic or nervous” (John Cage).

 
eye-beam How Do We Know When It’s Over? Talk given at the conference on “Comprovisation,” organized by Sandeep Bhagwati, Director of Matralab, Hexagram, Concordia University, Montreal, Canada, May 24-27, 2012.
 

2011

Edward King: Oedipus in Times Square Script: Marlena Corcoran. Staging and Performance: Marlena Corcoran (Venice, Italy), Marischka Klinkhamer (Amsterdam, Netherlands), Vicki Smith (Harihari, Aotearoa/New Zealand) and Ben Unterman (Vancouver, Canada)

Times Square on Christmas Eve. Did Edward King kill someone? Was the man his father? Do the Rockettes know the secret? Tune in for the avatar can-can and join in the Hallucinated Hallelujah Chorus, as Edward King asks: “Who am I?”

Listen to some of the audio work by Marischka.
Download the script.

2009

Salvation, a cyberformance at the Fondazione Querini Stampalia, Venice, on 20 May 2009 at 9 pm. Salvation is part of the Concordazanca festival, and the literary festival, Incroci di civiltà. With Antoinette LaFarge and GetFriday.

741
Agnus Dei in Gleichgewichtstoerung/Disequilibrium, an exhibition of videos curated by Upgrade! Munich and subsequently archived in the Spiegel collection of the municipal gallery, lothringer 13, in Munich.

2008

water-under-the-bridge1 Water Under the Bridge, for the 080808 festival, a networked performance using Upstage! technology, was projected live at the New Zealand Film Archive (Wellington, NZ), the Oslo Museum of Telecommunications (Norway) and the ZKMax in Munich (Germany). Performers were located in Seoul, Korea (Marlena Corcoran), California (Anotinette LaFarge) and Bangalore (GetFriday).
noxi-fungus1 Noxiterra, a networked performance with Antoinette LaFarge. I improvised the text as the world unfolded. Noxiterra was performed as part of 080808 and projected live at the venues above.

2007

isissubway Isis: For My Mother, with Tamiko Thiel, a networked performance using Upstage! technology, was part of the festival 080808. Isis was projected live at the New Zealand Film Archive.

2006

91 BirthData, a performance text/story, in Confrontation, Long Island University, New York.

A Day in the Life: Streaming Performance, (Munich, Oklahoma City, Istanbul and Boston), for the Upgrade! International Conference. Word art concept and live performance at the Muffathalle , Munich.

2005

New World Theater Hotel, a short story in a special issue of the New Orleans Review, New Orleans, LA.


Practice! Practice! Practice! formed part of art caching, a GPS performance work by Horst Konietzky. The story was written and recorded by the author, and played when participants in approached the GPS location on the steps of the Hochschule für Musik, where the Munich Accord was signed in 1938.

beautybronzeage Helena, an internet-based, multimedia work on Helen of Troy (see below), is shown as part of the exhibition Upgrade! at Eyebeam Atelier, New York.

Co-organized Brown at Oktoberfest.

Nike (bronze torso), BirthCertificate (Cibachrome) and This Story is Not True (torso) appeared in Hände Schaffen Heimat (Hands Create Home), a catalog of foreign artists in Munich. Akademie der Nationen, Ausländerbeirat and Caritas, München.

Served on the selection committee for the Horace Mann Award of the Brown University Graduate School.

Taught English, Critical Reasoning, Reading Comprehension and Analytic Writing at the MBA Center, Munich.

Taught English at the Fachhochschule München (Munich University of Applied Sciences).

Referee for the Institute of Cultural Inquiry, San Francisco.

Dishtruck to Mars. Short story, in Another Country (Munich Writers, Munich).

beautybronzeage1 Helena. An internet-based, multimedia work on Helen of Troy. Was she present or absent? In Egypt or in Troy? In several languages, ancient and modern, spoken, written, sculpted and performed, the story of Helen, “divine among women,” lives on.

Co-President, Brown Club of Munich.

Regional Director for Europe, Africa and the Middle East for the Brown Alumni Schools Committee. In charge of a program to offer alumni interviews to all applicants from this region to Brown.

Member of the Board of Governors, Brown Alumni Association, Brown University. Representing non-US alumni and alumni of the Graduate School. Brown is an Ivy League university in the United States.

2004

skyline1 Skyline Syndicate. A novel. Munich: Compact Verlag.
canyonsm1 Death in Grand Canyon. A novel. Munich: Compact Verlag.

Specialist Reader for Tulsa Studies in Women’s Literature (Tulsa, OK).

Nike. A scene for the online/offline performance, Demotic, by Antoinette LaFarge and Robert Allen. Demotic is a performance work about American Memory, a single, composite character. Demotic was a production of the Beall Center for Art and Technology, Irvine, CA. Demotic was broadcast live by KUCI 88.9 FM in Irvine, and webcast live by Location One gallery, New York.

Member of the Board of Governors, Brown Alumni Association, Brown University. Representing non-US alumni and alumni of the Graduate School. Brown is an Ivy League university in the United States.

Poetics of Voicemail: Tree-Structured Narrative in BirthData. Article with documentary photographs in Lecture Notes in Computer Science (Springer Verlag, Heidelberg).

Poetics of Voicemail: Tree-Structured Narrative in BirthData. Demo at TIDSE: Technologies for Interactive Digital Storytelling and Entertainment, Darmstadt, Germany.

Portrait of the Artist. Digital photo of manuscript mask sculpture, for the exhibition celebrating the 100th anniversary of James Joyce’s Bloomsday. Literaturhaus München.

Worst Case Scenarios: Mask. Direct scan of a manuscript fragment mask, included in Serkan Ozkaya’s “What an Art Gallery Should Actually Look Like (Large Glass)” (Exit Art, New York).

Regional Director for Europe, Africa and the Middle East for the Brown Alumni Schools Committee. In charge of a program to offer alumni interviews to all applicants from this region to Brown.

Line in the Sand: An Aria in the Desert. Dramatic poem in Silk City (New Jersey), reprinted from Another Country (Munich), below.

beautybronzeage2 Helena. An acoustic work broadcast three times on reboot.fm, Berlin radio 104.1. Helena uses German, Ancient Greek and English, the sound of weeping and the sound of struck bronze to present conflicting versions of Helen, who may have been in Troy, in Egypt, or both. Helena questions body and soul, object and narrative. I combined ancient texts and my own lyrics, composing a soundtrack recorded in seven voices.

Area Chair for Eastern Europe, Russia and Central Asia for the Brown Alumni Schools Committee. Organized interviews by 25 Brown University alumni of over 125 applicants to Brown; I completed 16 interviews myself. For the first time, we had a 100% contact rate.

From “Sirens” to “Cyclops”: Momentary Juxtaposition in Genetic Hypertext. Essay on James Joyce and hypertext in JoyceMedia (Prague: Litteraria)

gallthumb1 The Gallbladder Sonata: Transmission Time on the Internet. Article published in full online by Leonardo Electronic Almanac (MIT Press), in a special joint project with Leonardo Music Journal, below. Includes the text of the New York performance (1998), three audio clips from the Munich performance (2000) and a photo from the Mainz performance (2001).

2003

gallthumb The Gallbladder Sonata: Transmission Time on the Internet. Essay summary with photo published in print by Leonardo Music Journal (MIT Press), in a special joint project with Leonardo Electronic Almanac, above.

Death Comes to Brooklyn. Short story, in Another Country (Munich Writers, Munich).

Line in the Sand. Aria and short dramatic scene for my character, Poppaea, in connection with the performances of Roman Forum 2003, below, in Another Country.

7 Agnus Dei: Lamb of God Laundromat. Video selected for the Independent Heroine Film Festival at the Ladyfest Festival, Bristol, England.

Geschirrspülwagen nach Mars. Short story, as the conclusion to Eine andere Art Geschichte, below. Trans. Günter Zöller.

Eine andere Art Geschichte. Essay on gender and technology, in Stoerfall Gender, eds. Tatjana Schoenwaelder and Katrin Wille (Westdeutscher Verlag). Essay by Marlena Corcoran. Trans. Günter Zöller and Marlena Corcoran.

The Peter Rabbit Carrot Packing Factory. Story published in English with facing Spanish translation by Diana Vélez in Tameme: New Writing from North America/Nueva Literatura de Norteamérica (California).

turp1 Turp Girl. A new media narrative in six fragments, broadcast on juniradio, Berlin FM radio 101,4. The episodes were written and recorded by me.

Agnus Dei: Lamb of God Laundromat. Soundtrack to the video, broadcast on juniradio, Berlin FM radio 101,4.

BirthData. Soundtrack to the 2001 performance at the Black Box, Gasteig, Munich, 2001, broadcast on juniradio, Berlin FM radio 101,4.

Editing and Archiving Electronic Performance. Multimedia presentation of online/print publication platforms at Make It New, a conference on electronic editing (Kloster Irsee).

3 Roman Forum 2003. Live stage and online performance with streaming video, anchored at the Beall Center for Art and Technology, The University of California at Irvine. I created and performed online the role of Poppaea, one of the six characters of the Roman Forum. With the Plaintext Players.
5 Shelf Life: Death Mask. Cibachrome print of digital image, below. Reproduced in New Welsh Review: Wales’ Literary Magazine in English (Llandysul, Wales).

Shelf Life: Death Mask. Cibachrome print of digital image, below. Reproduced as the cover of DAIL magazine (London).

Shelf Life: Death Mask. Cibachrome print of digital image, below. Exhibited at City Hall, Manchester, England.

Shelf Life: Death Mask. Image commissioned for and published in Shelf Life: An Anthology. Digital art image of a mask made of manuscript fragments from the writing workshops sponsored by the Shelf Life Project, NDAF, England.

1 The Birth of the Christ Child: A Divine Comedy. Play originally performed at the Literaturhaus Muenchen in 1999. Published in PAJ: A Journal of Performance and Art (MIT Press). cristchild3

Virtual Live. Live gallery and online performance with streaming video, anchored at Location One in Soho. I created and performed online the role of Poppaea in this production, which was a facet of Roman Forum 2003. With the Plaintext Players.

2002

71 Agnus Dei: Lamb of God Laundromat. Video, below, selected for the Kasseler Documentarfilm- und Videofest, and also screened twice at the accompanying interfiction conference on Artefaktion (Kassel).

Agnus Dei: Lamb of God Laundromat. Video, below, selected for screening twice at the interfiction conference on Artefaktion (Kassel).

Misserfolg ist kein Erfolg: Die Aesthetik des Scheiterns in den Neuen Medien. Opening lecture and video presentation at the interfiction conference on Artefaktion (Kassel).

Remembering Jack. Short story in AlumNotes, Hunter College High School Alumnae/i Association (New York).

Performative textuelle Subjektivitaet. Essay in the online journal parapluie: die kulturzeitschrift (Tübingen and Bonn).

6 Streaming Shiva. Essay in the online journal //theatermaschine (Munich).

Die Materialität der Kommunikation und die Aesthetik des Scheiterns in Digitaler Performance Kunst. Lecture and audio presentation at the conference on Textkritik als Herausforderung der Kulturwissenschaften (Kloster Seeon).

2001

Die Aesthetik des Streaming Videos: BirthData. Lecture and video presentation at the interfiction conference on Streaming Media im WWW (Kassel).

72 Agnus Dei: Lamb of God Laundromat. Video selected for screening at the Hull Time Based Arts Center in Hull, England. Agnus Dei is the Christian prayer for peace, and is often a high point of music composed for the mass; it has, however, seldom been the basis of literary or visual improvisation. The video juxtaposes the story of a catastrophe by water with images of the disaster by fire on September Eleventh.
92 BirthData. Live solo multimedia stage performance in German, with original text, costuming and video stage set by Marlena Corcoran, at the Black Box of the Gasteig, Munich. BirthData is a series of stories linked by a hypertextual voicemail tree emanating from the Fiction Department of the New York City Department of Health. Streaming video of that performance was carried live on the website of Location One, a gallery in New York, and is archived on the internet.

Stay (tuned). Media performance, below, selected for Art Happens!, the set of performances accompanying the Performance Studies International conference (Mainz).

What is Music without Sound?: On stay (tuned) and The Gallbladder Sonata. Paper presented at the Performance Studies International conference (Mainz).

Master Class in New Media Art, for The University Studies Interdisciplinary Program, The University of Tennessee at Knoxville, 2001.

Internet Art and the Public Sphere, paper presented at the conference, Art and the Public Sphere, The University of Tennessee at Knoxville, 2001.

2000

How Do We Know When It?s Over? Talk on narrative closure in media art, sponsored by the Medienforum Maunchen, Ludwig-Maximilians-Universität München (Munich).

Narrative Closure in Media Art Organization of a panel discussion, sponsored by the Medienforum Maunchen, Ludwig-Maximilians-Universität München (Munich).

Stay (tuned). Media performance, below, at the Maximiliansforum, Munich, as part of Open Art.

Stay (tuned) (2000-01) is an exploration through a two-part media performance of the question, What is music without sound? It was performed at Lincoln Center, NY, and in Munich and Mainz. It is archived by The Digital Performance Archive: Charting Cybertrends in Performance, at The Nottingham Trent University, England.

Part One, starsong, is a silent aria, with lyrics, choreography based on American Sign Language, costuming, video editing and live solo performance by Marlena Corcoran. It premiered at Lincoln Center for the Performing Arts, New York, as part of The Lunar Opera: Listening For_tunes, with score by Pauline Oliveros and story by Ione (2000). Subsequent performances included video edited by Marlena Corcoran. They took place at the Maximiliansforum Muenchen, Munich, as part of Open Art (2000), and at Art Happens! the Mainz Intermediale, held in conjunction with the Performance Studies International conference in Mainz (2001).

Part Two, The Gallbladder Sonata, is a live, improvised textual performance, with scenario and direction by Marlena Corcoran, who is joined by other artists. The Gallbladder Sonata premiered on the Here’s Pangloss! show (1998), created and hosted in New York by Heather Wagner. The second and third performances took place in Munich and Mainz, as above.

The Coronation of Poppaea (2000), an online theater improvisation projected before an audience of two thousand live spectators as part of the Bonner Wissenschaftsnacht: Global Brain, at the Rheinische Friedrich-Wilhelms- Universitaet, Bonn. Concept, production and live introduction by Marlena Corcoran. I played Poppaea, Empress and finally Goddess of Brooklyn. With the Plaintext Players.

1999

11
The Birth of the Christ Child: A Divine Comedy. Online textual performance projected live at the Literaturhaus Muenchen (Munich). Scenario, direction and live introduction by Marlena Corcoran. I created the roles of First.Angel, Three.Dead.Men and Curtain. With the Plaintext Players.
cristchild4

Die (Ir)Realitaet des Cyberspace. Lecture in a series on the virtual body and gender, as part of the exhibit, Lara Croft:ism, kunstraum muenchen, Munich.

Introductory workshop on html. Conducted as part of the exhibit, Lara Croft:ism, kunstraum muenchen, Munich.

Internet Performance als Netz.kunst. Presentation on the panel discussion on Netz.kunst–Kunst im neuen Medium, sponsored by Artechock and Medienforum Muenchen, at the Literaturhaus Muenchen, Munich.

Life and Death in the Digital World of the Plaintext Players. Article in Leonardo: A Journal of Art and Technology (MIT Press).

1998

Still Lies Quiet Truth. Seven stage/online performances at the Fringe Theater Festival (New York) of a script adapted by Antoinette LaFarge from the online improvisations of The Candide Campaign, below. I created the roles of Candide and the Infant.of.Prague.

Still Lies Quiet Truth. Two stage/online performances at Digital Salon (Museum of Visual Arts, New York) of a script adapted by Antoinette LaFarge from the online improvisations of The Candide Campaign, below. I created the role of Candide and the Infant.of.Prague.

Understanding Laughter. Talk at the conference on Storytelling in the Sciences, sponsored by the Project on Rhetoric of Inquiry at The University of Iowa.

1997

Finnegans Wake (1995 and 1997). Performance reading with Sean Bronzell, The Paula Cooper Gallery, New York.

‘Worst Case Scenarios’: The Fiction of the Internet. Article in Leonardo: A Journal of Art and Technology (MIT Press).

blast5drama (1996-97). Show at The Sandra Gering Gallery (New York), including digital art, web video, performance, texts and objects by international artists. I was one of six co-organizers of the show, whose general editor was Jordan Crandall. We solicited contributions that responded to my story Crossroads, the starting hyperlink for blast5drama.

Silent Orpheus. Online performance for A Day Without Art, projected live at Harvard University (Cambridge, MA), The Institute for Cultural Inquiry (San Francisco) and the Video Wall at 55 Broad Street (New York); sponsored by Creative Time and Thunder Gulch (New York). I created the role of Orpheus. With the Plaintext Players.

orpheus
Orpheus: I am the Music. Online performance for documenta X (Kassel). I created thr roles of Sono.la.Musica, Orpheus, Apollo 13, and a Chorus.of.Rocks. With the Plaintext Players.
white
White Whale. Online performance for the Venice Biennale. I created the role of Herman (Melville). With the Plaintext Players.

Masked Candide. Live textual performance as part of blast5drama, The Sandra Gering Gallery, New York.

Veiled in Flesh. Multimedia event transmitted over the internet for screen projection at the List Art Galleries at the Massachusetts Institute of Technology as part of the show PORT MIT. I performed on Pseudoradio (New York), appeared veiled on the live streaming video and handled the desktop transmission.

Worst Case Scenarios. Internet fiction, selected as one of 12 Net-Works in Digital Salon, a show at The Museum of Visual Arts, New York.

BirthCertificate. Cibachrome print of a digital image. The digital image was used as part of the stage set of BirthData in 2001.

La critique génétique de l?identité sexuelle sur l?internet. French translation of Genetic Criticism of Sexual Identity on the Internet (Frauen in der Literaturwissenschaft (Universitaet Hamburg, 1996)), in Genèse textuelle, identités sexuelles, ed. Catherine Viollet (Du Lerot, Tusson).

Virtual Humanties.Lecture and media presentation in the series on Technology and Teaching, sponsored by The Center for Teaching at The University of Iowa.

1996

Worst Case Scenarios. Internet fiction created for and exhibited as part of blast5drama at The Sandra Gering Gallery, New York and at the Galerie des Archives, Paris. My story Crossroads from Worst Case Scenarios served as the starting hyperlink for blast5drama.

Crossroads. Performance reading of an original story by Marlena Corcoran, which formed the starting hyperlink for blast5drama, The Sandra Gering Gallery, New York.

Genetic Criticism of Sexual Identity on the Internet. Essay in Frauen in der Literaturwissenschaft (Universitaet Hamburg).

campaign1 The Candide Campaign. Four-part series of online textual improvisations projected live at Postmasters Gallery, NY. I created the roles of Candide and the Infant.of.Prague. With the Plaintext Players.
hamlet
Little Hamlet. Two-part improvisational series projected live at the Javier Lopez Gallery, London. I created the roles of Polonius, Claudius and Skull.of.Yorick. With the Plaintext Players.

Genetic Criticism of Sexual Identity on the Internet. Essay in Frauen in der Literaturwissenschaft (Universitaet Hamburg).

“Genetic Hypertext: The ?Sirens? Chapter of Ulysses”. Lecture and demonstration of a scholarly hypertext created in collaboration with Daniel Ferrer at the Centre national de la recherche scientifique. Presented at the Fourteenth International James Joyce Symposium, Zurich.

Beuys/Joyce. Paper presented at the Fourteenth International James Joyce Symposium, Zurich.

“Qu’est-ce qu’une démonstration? Le cas de l’hypertexte de ?Sirens.?” Lecture and demonstration of a scholarly hypertext created in collaboration with Daniel Ferrer at the Centre national de la recherche scientifique. Presented at Philèctre (philologie électronique), a faculty research seminar at the École normale supérieure, Paris.

Le temps et la virtualité sur l’internet. Lecture and media presentation at the faculty research seminar, Acte, Puissance et Virtualité,at the École normale supérieure, Paris.

Implications philosophiques et culturelles de l?internet. Talk at La Maison des Écrivains, Paris.

La genèse de l?identité sexuelle sur l?internet. Lecture at the colloquium on Expression, construction, transposition du féminin et du masculin dans la genèse textuelle at La Maison des Écrivains, Paris.

1995

QPPPs: A Questionable Picture Poetry Performance. A computer poetry performance, with Sean Bronzell, as part of Digital Genesis, an event organized by Marlena Corcoran and co-sponsored by the conference on Joyce and Modern Culture and the Computing in the Humanities Users Group (CHUG), Brown University, Providence, RI.

QPPPs: A Questionable Picture Poetry Performance. A computer poetry performance, with Sean Bronzell, as part of a multimedia performance of QPPPs in association with ‘Rolywholyover’: A Circus by John Cage, The Philadelphia Museum of Art, Philadelphia, PA.

Blast Conversional Archive: The Book and the Net. Talk at a symposium on New Technologies, Editorial Practices and Publicational Bodies, The American Center, Paris.

Digital Genesis: Computing Joyce. Organization of an event co-sponsored by the conference on Joyce and Modern Culture and the Computing in the Humanities Users Group (CHUG), Brown University, Providence, RI.