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                  <text>&lt;p style="font-size: 12px;"&gt;Escapes is a video art work created by Lynn Book in 2012 with video footage and editing contributions from Brent Richardson. The artist considers it a book of poems that is at the heart of “Unreading for Future Bodies”, a long-scale transmedia work that is realized through a suite of videos, live performance and installation with the videos, published artworks in journals (both in print and online). Escapes emerged from a series of performance projects interrogating opera, Greek tragedy, and narrative voice and continues &lt;br /&gt;&lt;br /&gt;The 8 poems can be viewed from beginning to end in a fixed running time of 23:21. In the hypertext version found on Lynn Book’s Vimeo channel, the reader/participant can click on any one of the Escapes poems (or titles, preface and credits). All the video titles begin with ‘Escapes’ and have a running time of about 1:30 to 5:20 in length. &lt;br /&gt;The multiplicity of possibilities for entrances and exits in and out of the work, become escapes from, and also toward, the story of Phaedra, as well as the viewer’s own liberation story-to-be.&lt;br /&gt;&lt;br /&gt;Credits:&lt;br /&gt;Lynn Book - Concept, Artistic Director, Writer, Photography, Video, Performer&lt;br /&gt;Lynn Book, Shawn Decker – Sound, Voice, Music&lt;br /&gt;Brent Richardson, Lynn Book - Editors&lt;/p&gt;</text>
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                  <text>&lt;p style="font-size: 12px;"&gt;This Exhibition and Installation Collection represents Lynn Book’s investment in visual and material practices and projects that endure throughout her multi-decade corpus. While there are gaps in public facing works such as these selected to include here, the intent is to demonstrate the artist’s foundation in, especially, the visualization of ideas that get realized as part of the process of making all of her works. This throughline manifests from her earliest days working within a visual arts context on the process side of things in sketchbooks, etc. In multimedia performance works, etc. the visual and material press of her ideas arrive as set design, object use, and lighting or costume design, such as in “Gorgeous Fever” (1994-97). &lt;br /&gt;&lt;br /&gt;In this Collection are exhibition and installation works from 1984-85 that often draw on performance to activate environments designed and/or constructed by Book. Almost without exception they are also integral to an exhibition, and exist outside of and beyond any performative interface, such as “SongSpot”. In this way, they are linked to several Early Works projects, such as “Build Up Break Down” or “ABDK” (with Vincent Wrenn). Included here are video and photographic documentation, sound for installation, printed matter, sketches, etc &lt;br /&gt;&lt;br /&gt;Browse collections within Installation:&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/88"&gt;Every Now and Again&lt;/a&gt;&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/89"&gt;In the Mouth of Chimaera&lt;/a&gt;&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/90"&gt;INEXCHANGE&lt;/a&gt;&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/91"&gt;SongSpot&lt;/a&gt; &lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/92"&gt;Support Measures&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>&lt;p style="font-size: 12px;"&gt;This Exhibition and Installation Collection represents Lynn Book’s investment in visual and material practices and projects that endure throughout her multi-decade corpus. While there are gaps in public facing works such as these selected to include here, the intent is to demonstrate the artist’s foundation in, especially, the visualization of ideas that get realized as part of the process of making all of her works. This throughline manifests from her earliest days working within a visual arts context on the process side of things in sketchbooks, etc. In multimedia performance works, etc. the visual and material press of her ideas arrive as set design, object use, and lighting or costume design, such as in “Gorgeous Fever” (1994-97). &lt;br /&gt;&lt;br /&gt;In this Collection are exhibition and installation works from 1984-85 that often draw on performance to activate environments designed and/or constructed by Book. Almost without exception they are also integral to an exhibition, and exist outside of and beyond any performative interface, such as “SongSpot”. In this way, they are linked to several Early Works projects, such as “Build Up Break Down” or “ABDK” (with Vincent Wrenn). Included here are video and photographic documentation, sound for installation, printed matter, sketches, etc &lt;br /&gt;&lt;br /&gt;Browse collections within Installation:&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/88"&gt;Every Now and Again&lt;/a&gt;&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/89"&gt;In the Mouth of Chimaera&lt;/a&gt;&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/90"&gt;INEXCHANGE&lt;/a&gt;&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/91"&gt;SongSpot&lt;/a&gt; &lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/92"&gt;Support Measures&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>&lt;p style="font-size: 12px;"&gt;This Exhibition and Installation Collection represents Lynn Book’s investment in visual and material practices and projects that endure throughout her multi-decade corpus. While there are gaps in public facing works such as these selected to include here, the intent is to demonstrate the artist’s foundation in, especially, the visualization of ideas that get realized as part of the process of making all of her works. This throughline manifests from her earliest days working within a visual arts context on the process side of things in sketchbooks, etc. In multimedia performance works, etc. the visual and material press of her ideas arrive as set design, object use, and lighting or costume design, such as in “Gorgeous Fever” (1994-97). &lt;br /&gt;&lt;br /&gt;In this Collection are exhibition and installation works from 1984-85 that often draw on performance to activate environments designed and/or constructed by Book. Almost without exception they are also integral to an exhibition, and exist outside of and beyond any performative interface, such as “SongSpot”. In this way, they are linked to several Early Works projects, such as “Build Up Break Down” or “ABDK” (with Vincent Wrenn). Included here are video and photographic documentation, sound for installation, printed matter, sketches, etc &lt;br /&gt;&lt;br /&gt;Browse collections within Installation:&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/88"&gt;Every Now and Again&lt;/a&gt;&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/89"&gt;In the Mouth of Chimaera&lt;/a&gt;&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/90"&gt;INEXCHANGE&lt;/a&gt;&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/91"&gt;SongSpot&lt;/a&gt; &lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/92"&gt;Support Measures&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Slovenia -- Ptuj -- Artstays</text>
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                  <text>&lt;p style="font-size: 12px;"&gt;SongSpot was an invitational multimedia installation project developed by Lynn Book for Art Stays 2010, an international festival of contemporary art in Ptuj, Slovenia. During the 2 week residency, the artist engaged the town and people through what she calls ‘voicing bodies’. Book cultivated intimate connections by singing, sounding, speaking and listening with people and place in both staged and accidental encounters, building new mobile architectures of the sound of living lives together and in between.&lt;br /&gt;&lt;br /&gt;The gallery installation, or the SongSpot Spot, was a site for translating those experiences and for proposing resonant spaces for experiment and reflection. Audio, image and material artifacts from the city-wide activation accumulated each day to develop an imprint of these concentrated spots – public, private, forgotten, silent and full of becoming. Viewers to the exhibition were invited to exchange songs for spots cut from the fabric of clothes they were wearing, or from other clothing donated by the local tailor. Ad hoc encounters also occurred with the artist on her daily song routes, as well as during performative encounters at the exhibition installation site.&lt;br /&gt;&lt;br /&gt;This Project Collection contains photographic documentation, audio work, video element for installation (in collaboration with Robin Starbuck with audio contributions from Katharina Klement), artist residency workshop and lecture info, sketchbook pages and other process materials.&lt;br /&gt;&lt;br /&gt;&lt;a href="http://lynnbook.archive.wfu.edu/collections/show/73"&gt;Return to Installation&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>&lt;p style="font-size: 12px;"&gt;This Exhibition and Installation Collection represents Lynn Book’s investment in visual and material practices and projects that endure throughout her multi-decade corpus. While there are gaps in public facing works such as these selected to include here, the intent is to demonstrate the artist’s foundation in, especially, the visualization of ideas that get realized as part of the process of making all of her works. This throughline manifests from her earliest days working within a visual arts context on the process side of things in sketchbooks, etc. In multimedia performance works, etc. the visual and material press of her ideas arrive as set design, object use, and lighting or costume design, such as in “Gorgeous Fever” (1994-97). &lt;br /&gt;&lt;br /&gt;In this Collection are exhibition and installation works from 1984-85 that often draw on performance to activate environments designed and/or constructed by Book. Almost without exception they are also integral to an exhibition, and exist outside of and beyond any performative interface, such as “SongSpot”. In this way, they are linked to several Early Works projects, such as “Build Up Break Down” or “ABDK” (with Vincent Wrenn). Included here are video and photographic documentation, sound for installation, printed matter, sketches, etc &lt;br /&gt;&lt;br /&gt;Browse collections within Installation:&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/88"&gt;Every Now and Again&lt;/a&gt;&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/89"&gt;In the Mouth of Chimaera&lt;/a&gt;&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/90"&gt;INEXCHANGE&lt;/a&gt;&lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/91"&gt;SongSpot&lt;/a&gt; &lt;br /&gt;- &lt;a href="https://lynnbook.archive.wfu.edu/collections/show/92"&gt;Support Measures&lt;/a&gt;&lt;/p&gt;</text>
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