"Text Divinations" are reading-performances that use a cut-up technique to scramble, graft, or otherwise interpolate appropriated texts. Each piece has a different number of readers and its own rhythm, but all employ simultaneous recitation to create a wash of sounds and semiotics. I'm interested in the way this simultaneity demands that the listener actively tune in to the various strands of the text fragments.
"Text Divinations #1: Graças de Ação" (2015) was performed during the programming of "Perto de Lá" at the Museu de Arte da Bahia (Salvador, Brazil), on Saturday, November 21st, 2015, two days after Thanksgiving. The text samples several sources, primarily in reference to the story of Thanksgiving (using both primary sources and contemporary accounts, by figures such as Rush Limbaugh) and the story of Caramurú--a portuguese sailor shipwrecked on the coast of what is now Salvador, Brazil, captured by natives, and was eventually instrumental in founding Salvador as a city in the portuguese empire. Additional textual sources include various transcripts of contemporary art dialogues about international exchange and socially-engaged projects. "Graças de Ação" aims to conflate the notions of cooperation, fair exchange, power hierarchies, and "hard work" present in each of the respective narratives.
Texts prepared by Jordan Martins
Readers: Talitha Andrade, Ibelisse Guardia Ferragutti
"Text Divinations #2: It was more a face than a figure" was performed on April 7th, 2016 at The Mission Project's Sub-Mission space, in conjunction with my video installation "How easy is a bush a bear". The source texts for this piece were early twentieth century clinical studies concerning hallucination, from which I pulled first hand descriptions of various patients' accounts.
Text prepared by Jordan Martins
Readers: Michelle Holder, Dan Mohr, Erik Stonikas, Becky Grajeda
"Differences in Permeability (Text Divination #3)" is a reading-performance, in conjunction with my site specific installation "Stay out come in stay in come out" on the lawn of Comfort Station. Three readers situated within the installation will simultaneously read a set of related scripts, each of which scrambles various appropriated textual sources: technical descriptions of biochemical processes, first hand accounts of border crossing, observations about bird mating rituals, instructions for crowd control tactics, and dubious advice about flirtation from askmen.com.
Text composition and reading staging by Jordan Martins