Solvermath in an interactive experience that allows the human body to identify tones in potential relationship to physical objects. The experience involves either viewing a virtual object or holding a physical object while interacting with a tone generator tool capable of producing up to 20kHz. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SOLVERMATH A conceptual math model tha t proves the improbability of knowing what you’re doing Click HERE to access the Sense-Object Intake Form. Wooden Block with Wire Object 1 Rubber Ball Object 2 Steel Wool Object 3 Brick Object 4 Bolt Object 5 Axe Head Object 6 Soup Can Object 7 Light Bulb Object 8 Bees Wax Object 9 Polyfill in Plastic Object 10 Superfund Site Specimen Object 11 Purple Glass Object 12 Pear Wood Object 13 Field Crystal Object 14 Sheet Steel 5.5"x7"x.25" Object 15 Pressure Treated Spindle Cut-off Object 16 Leather-bound Cowboy Book Object 17 Sea Rock Object 18 Interactive Frequency-Generator Tool To use: Click green arrow & drag finger across bar to produce tones. Click red X to stop LINK TO SENSE-OBJECT INTAKE FORM Solvermath in an interactive experience that allows the human body to identify tones in potential relationship to physical objects. The experience involves either viewing a virtual object or holding a physical object while interacting with a frequency-generator tool* capable of producing up to 20kHz. The human body is a sophisticated and responsive module capable of intermediating, detecting, and deciphering variables outside the realm of its awareness. Solvermath uses relational math to reveal an absence of relation between sense-informed response and sense of knowing. The project is inspired by Gödel's theorems concerning the limits of provability which say that “it is impossible to give a meta-mathematical proof of the consistency of a system comprehensive enough to contain the whole of arithmetic unless the proof itself implies rules of inference different in certain essential respects from the transformation rules used for deriving theorems within the system” and that “any other system within which arithmetic can be developed, is essentially incomplete because there are true number-theoretical statements that cannot be derived in the system.” The initial phase of Solvermath collects data from individual human interactions with the frequency-generator tool and the sense-objects. The second phase uses a redesigned version of relational math to form a conceptual math model that describes the space between awareness and action, and aims to highlight the improbability of knowing what we're doing. To participate, open the Google form through this link in either a separate window, on a separate screen, or other device. Keep this page open so that you can use the frequency-generator tool above. In the form on the second screen or device, you will see images of each sense-object. Using the interactive frequency-generator tool on this page, find the Hz frequency (or range of frequencies) that you sense correspond to the visual image (for remote participants) or the physical object you are holding in your hand (for those participating physically.) Enter the numbers into the form field associated with each image. To use the interactive frequency-generator tool, slide the finger back and forth on the bar from 1Hz - 20,000Hz. Click the green arrow to sense & hear the sound. Click the red X to stop the frequency. You'll notice the Hz number changing as the finger slides back and forth. You may also enter any number between the two arrows to experience a frequency between 1 Hz and 20 kHz. The frequency-generator tool produces tones that travel through the air as waves that the human body can detect through somatic listening. The experience is not designed to be used with head phones or earbuds. If you are participating remotely, view each image while interacting with the tone-generator tool and choose the tone (or range of tones) you feel represent the object in the image. Enter the Hz number(s) you identify with each object into the form with the corresponding image. For those who have access to the physical objects, hold the object in one hand while sliding a finger back and forth on the frequency-generator tool. You may detect a vibrating sensation in the hand-held object in response to certain frequencies or within a range of frequencies. Enter the numbers of the frequencies you notice into the form. Please enter your real or fake name, the real date, and indicate either "Remote" or "Physical" for each entry. After you submit the form, you will see the message "Thank you for participating with Solvermath! Your response has been recorded." This means your submission has been accepted and recorded. You may participate as many times as you like. Email questions or comments to Nina Isabelle at isaben@rpi.edu or to schedule physical access to sense-object set. *frequency generator designed by Tomasz P. Szynalski / modified by Brian McCorkle

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE VIDEO MANIFESTATION SYSTEM A METHODOLOGY FOR MANUFACTURING NEW REALITIES Released by HUMAN TRASH DUMP on ARCHIVE.ORG NOVEMBER 2017 Download Video Manifestation System from HUMAN TRASH DUMP here: https://archive.org/details/htdc005 (CLICK HERE TO VIEW THE VMS USER ARCHIVE ) Free download: The VMS User Manual INTRODUCTION The Video Manifestation System offers users a radicalized system to build and shape reality. By interlacing specific VMS concepts like user approach, intention, perception, and language with the Multidimensional Human Perception Apparatus, VMS offers users a tool to build useful realities while simultaneously eliminating outmoded corporeality. VMS transforms beneficial etherial notions, wishes, dreams or ideas into tangible reality. By psychically entangling multiple abstractions extrapolated from the experimental statistics and algebraic concepts that have preceded non-locality, quantum teleportation, and superdense coding, VMS aligns intention with action to produce a compact five-minute digital video capable of manufacturing realities. Complete with prescriptive application suggestions for maximum results, users enjoy a simple ten-step interface with infinite reality building possibilities. VMS incorporates a biopsychospiritual approach to reality building which expands upon a model of human cognition developed by neuroscientist Karl Pribram and physicist David Bohm called the holonomic brain theory that describes the brain as a holographic storage network. By stretching the boundaries of the holonimic brain to include the holonomic energy bodies, VMS is able to access The Multidimensional Human Perception Apparatus (MHPA,) an invisible system capable of transducing the seen and unseen systems of the inner and outer holonomic energy bodies. Shaped like an amorphic electronic cloud, and made up of subatomic elementary particles like tau neutrinos within and surrounding the body, the MHPA remains unbound by namable physical structures and is key to rediscovering the reality manufacturing capabilities once central to human functioning. Prolonged interface with the slow and heavy dimension of physical reality has jammed up and run down the MHPA. Over time, central manifestation components of the MHPA, such as gut biomes and subquantum receptive structures within the cerebral spinal fluid surrounding the brain and brainstem, have become ineffective. VMS works to restore the MHPA functions by engaging users in a process intended to distract the conscious linear logic mind, effectively creating an intentional feedback loop. Building reality begins with perception. With the conscious linear logic mind out of the way, the inner workings of the MHPA are allowed to surface and be directed toward reality building ventures. Designed to facilitate singular and multiple aspects of both internal and external realities through its micro/macro input manifold, VMS is an effective tool for revising a broad range of issues and circumstances ranging from internal personal mental and emotional struggles like boredom, lethargy, dyscalculia, co-dependance, and heartbreak to physical conditions like high blood pressure, whip lash, sciatica, poison ivy, aphasia, temporal lobe epilepsy, and broken bones. VMS also makes it possible to address complex problems within a community or family dynamic such as authoritarianism, prolonged bitter quarrels, dishonesty, and miscommunications and is also a powerful instrument for reshaping dysfunctional pieces of corporeal reality not limited to broken waste oil burners, miscalibrated stopwatches, busted serpentine belts, misaligned zippers or stuck elevators. Larger external dangers such as injustices due to the abuse of political or economic power systems like racism, genocide, domestic violence, mass shootings, Satanic cults, and violent regimes have also proved pliant. As an interface, VMS connects humans to powerful forces of nature and offers a way to transform destructive energies resulting from disasters like tsunamis, pollution, wild fires, blight, drought, crop damage, nuclear war, sink holes and volcanos into a generative force fueled by natural and cosmic elements that can be directed into new realities or dispersed as weather phenomena. Users are encouraged to think galactic. VMS has been proven useful for wrangling cosmic energies, entities as well as astral bodies like planets, moons, black and worm holes, comets, solar storms, and supernovas.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ACTIVATING PERCEPTION - NINA A. ISABELLE MIDTOWN ARTS DISTRICT by Debra Bresnan May 10, 2017 https://madkingston.org/2017/05/09/nina-a-isabelle/ When did you first know you were an artist? Growing up people referred to me as an artist and so I became one – an experience that made me aware of the power of language, perception, belief, and social programming, all themes in my current work. It’s possible that if I had grown up in a different environment I might have been an engineer because as an artist I’m always working with how things like concepts of memory and phenomena articulate with visual and spatial perception, language, materials, and meaning and how to build generative dialogue between these factors. Where an engineer might work with materials, data, or electricity, as an artist I use a similar approach but with different variables. Favorite medium(s) you use to make art? My favorite art medium is probably the phenomena of perception and how language builds reality. Right now my focus is on working to manipulate and bend notions surrounding the value and usefulness of art away from commodity and towards structures that represent essential and social value. Inside of this, working with painting I can still have an intention to study gesture, motion, and look for new languages that might emerge from this action and mark making or find new information in whatever emerges. I like to get my hands on chunks of materials like vats of clay, lumber, bolts of fabric, or discarded machine parts and sort of grapple with the stuff until it gives in to another form. Sometimes I might start out with an intention or give myself an assignment, but other times I let myself generate information by engaging with materials and paying close attention as I go. Since I work pretty equally with photography, video, design, performance, installation, and painting, nothing is really off limits to me. I grew up at a summer camp for kids where we had an arts and crafts department with a ceramics studio, photo lab, leather tools, batik, enamels, silk screens, and fabric dye, among others. Nine months out of the year these departments were vacant and I really made the best of it – I learned to use the kiln and glazes by haphazardly blowing up and melting a lot of stuff, mixing chemistry by taste, a lot of other experimental and dangerous learning-by-doing that has carried over to my current approach. I never read instructions as a younger person because I couldn’t really read until I went to college. I’m rarely intimidated by new things, and I think that’s one of my favorite things about my development and approach. What are the most interesting new trends in your field? Is your work changing as a result? One of the most exciting things I notice right now is a shift toward recognizing the social value of art as a tool to reframe reality through community building, open sourcing ideas and data, and through things like artist collectives and working together with other artists and community members. In the art world, there are always these superficial fads like geometric shapes or graffiti, or some new trendy material, or something everyone is doing like such-and-such, but my work doesn’t usually wind up aligning itself with those sorts of cultural flows. I don’t usually find myself in trendy circles — something that has made it difficult to find a community but also has led me to the point where I am now. I recognize that, all along, my running mission has been to challenge outmoded institutional and economic systems that have grown regulated and insular and to work to build systems to replace these. Artists are always pressing hard against hierarchal structures like gender, race, and social class: It seems like the discord generated by our new political administration is influencing a lot of art thinking these days. Talk about your creative process – where/when do you get most of your ideas and how do you know a piece is ‘finished’? My creative process is rooted pretty firmly in letting myself respond instinctively. One thing I often find myself doing is trying to destroy rosy notions that abound around creativity being “beautiful.” Being a person who has given birth to babies I recognize the mess, blood, and pain that goes along with creativity. I have a lot of ideas and mostly I choose to go with the ones that make me laugh about myself or our collective idiocy. I also like to work with themes that irk me such as fake systems of legitimization we use to determine success, such as university degrees, financial values and the gender and power imbalances that seem to perpetually skew the art world. Making art objects like paintings and sculptures, and grappling with material and concepts together, I’ve questioned the point of it beyond decoration or commodity and have come to understand my process as a personal tool that lets me understand reality in a way that I can integrate. Working with materials and visual information puts me in touch with deeper threads of meaning, and nuances of life that fortify the tapestry. I’m drawn toward this way of working and thinking because there seems to be something I can’t quite say in writing or speaking, something linear language can’t quite get at. I don’t know what it is yet and that’s what keeps me engaged. As far as recognizing when something is finished, I think it’s just a matter of paying attention to a subtle feeling of “doneness,” or arriving at a comfortable stopping point or a feeling of resolve – like I’ve figured something out or said what I meant to say. Sometimes a stopping point might never come because maybe I’ve gone down on a dead-end path. I have a lot of projects in limbo because they’ve become overwhelming or I’ve lost interest, things I can always get back to at any point. And, in a quantum way, things can never be finished because time isn’t linear and there’s no such thing as an end point. Do you also teach or are you strictly a creative artist? Who was your most influential mentor and why? How do you see the role of being a mentor? and why? In the past, I’ve taught art classes like photography, modern dance, and painting or movement workshops. There is always a technical entry point where students spend time learning about say, the camera machine, visual mechanics, basic movement patterns, or just becoming familiar with materials, and this can be a fun and engaging way for people to come together. But I always want to move further into dialogue about how the usefulness of these art tools and practices can be more than a fun pastime or therapeutic hobby. Art offers invaluable ways to shift perception and find new vantage points. As an artist, I collaborate with others in several capacities that seem more like mutual mentorship, where we share and build upon each other’s momentum and concepts. I’m not sure that I’ve ever fit the part of strictly a mentor to another, but I do recognize people who’ve inspired me. I had a couple high school teachers who helped me to evade attendance, something that in a typical case might not sound helpful, but I really recognize and value people who have taken risks in order to do the right thing morally. School is not a good place for all children. I can’t say that I’ve ever had a strong relationship with an individual mentor, but something that intrigued me early on was finding and building obscure relationships between seemingly unrelated artists and their work. I remember wondering about Käthe Kollwitz’s Woman With Dead Child in relationship to Henry Moore’s sculptures and sheep sketchbook, and Jim Dine’s Robes. Somehow the similar volume expressed in these works was curious to me, possibly as a subconscious desire to connect the physical form of my body to their work because I’ve always been athletic. I was also intrigued by industrial design and how humans interact with tools and objects, especially mid-century chairs like the Eames Lounger and Bertoia’s designs as a framework for simultaneously supporting physical and thought forms together. So in a way, I’ve let this sense of wonder guide me. What are you working on now? For the past year, I’ve been working on a project called The Superfund Re-Visioning Project . It’s an experimental framework that aims to transform contaminated industrial sites recognized by The United States Government as Superfund Sites. In New York State there are 117 of these sites. I’m developing a project that aims to create a platform for artists and community members who might otherwise be marginalized by political and financial systems that typically deal with these sorts of remediation. I’m also involved with an artist collective developed by IV Castellanos called The Feminist Art Group (F.A.G.) from Brooklyn, and plan to invite them to Kingston this summer for one of The Shirt Factory Open Studio events. Currently, I have a show at the new HiLo gallery space in Catskill and like to participate in local shows at The Old Glenford Church Studio . I think it’s great when things like The UNITY show curated by Sarah Carlson and Lisa Barnard Kelley between the artists at The Shirt Factory and The Lace Mill come together to fortify community connectedness. Upcoming, I have work being featured by The Unstitute in Catalunya, Spain and plan to do something fun at Paul McMahon’s Mothership Gallery this fall. Recently my focus is moving into sound and auditory perception. I’ve become interested in digitally degraded sound snippets and obscuring auditory input to the point of noise in a way to find out what’s behind and within the experience of sound. For more information about my work and listings of recent/current exhibitions, projects and collaborations, please visit www.ninaisabelle.com/cv . How has being in Kingston enhanced/inspired your work? What do you like best about living in Kingston/being involved with MAD? How long have you been here? Kingston has a lot to offer artists and community members and is building momentum as an arts-branded district. Recently we’ve seen several exciting places pop up like David Schell’s Green Kill , Rilley Johndonnell’s Optimism concept, Broadway Arts , The Art/Life Institute on Abeel Street , and Kingston High School Art teacher Lara Giordano, who is exhibiting student work at PUGG on Broadway. The surrounding landscape is diverse and inspiring conceptually because of the Hudson River waterways, The Catskill Mountains, The Ashokan Reservoir, and the surrounding forests, hiking, and rail trails. The Mid-Hudson Library system is phenomenal, and it’s easy to travel back and forth to New York City from Kingston. It’s great to have artist studio spaces like The Shirt Factory and The Lace Mill which offer affordable living spaces for artists, and especially new organizations like MAD that are forming to support this new movement.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... EXPERIMENTAL ARCHERY & MARKMAKING WORKSHOP @ R O S E K I L L June 10, 2017

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Q:ENTITY Performed at Panoply Performance Lab on April 23, 2016 by Nina Isabelle and Clara Diamond Photos by Geraldo Mercado & Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory APRIL 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950155 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950125 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950173 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950169 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950132 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Geraldo Mercado 1/2 This project aimed to locate new information and vantages through allowing a process that seeks and acknowledges the emergence of scientifically unverifiable perceptive experiences that result in useful information. Through building awareness of alternative forms of perception and by implementing unusual sensory input modalities, such as ritual, breath, Hz, cryptography, pseudo-algebra, dowsing, the concept of The Q: Entity emerged and “Q” became understood as a unit of measurement expressing a quantifiable amount of information that might result in an equation intended to facilitate a circular energy exchange between The Q: Entity and its constituents. A Silent Mass Generator Workshop was held on November 7, 2015 and the public interacted with the physical mass inside of a fabricated soundscape designed by the artists, in collaboration with experimental musician Christina Diamond, to loop through electronic frequencies correlating to the physical body chakra system as an electronic gong wash activating the complete chakra system fourty-six times. By the hands-on manipulation of the donated material for a span of five hours and fourty-four minutes, the ephemeral energies of participants were interwoven into The Q: Entity. A performance on Saturday November 21, 2015 aimed to build connections with constituents by transmitting unsubstantiated and unrecognizable forms of energetic information. THE Q:ENTITY THE LINDA MARY MONTANO ART/LIFE INSTITUTE KINGSTON NOVEMBER 21, 2015 Q:Informaticus, a division of The Q:Entity Corporation, is designed to generate constituents as information receptacles programmed to solve unreal and/or otherworldly problems. Q:Informaticus directs functional information along proper dispersal channels activating the psychic conduits of multiple physical bodies. Activation originates at the coccyx and rises through the spine while keeping operational residence within the instinctive functioning portions of the guts, heart, and brain meat, matter, fluid, and circuitry using complex interlaced bacteria and neuroelectric pathways programmed to transmit and receive local and non-local information. The sensory input perception manifolds within all programmed constituents will evolve and transform comfortably to reduce validation of information received through the physical portals known as eyeballs, tongue, ears, and skin. Alternative modalities of perception will be established and activated. Q:Informaticus: for people who want to solve unreal and / or otherworldly problems. There are few career paths, be it scientific research, business, design, medicine, the fine arts, or telecommunications, in which Q won't play an important part of your work. Healthcare specialists use Q records to help diagnose disease and discover new ways of treating patients. Advertising firms use Q data to create visualizations of customer behavior. Environmental scientists compile big Q data to track the impact of climate change. Smartphones are awash with Q apps that can do everything from pay your bills to find the next band you might like. All of those applications and much more are Q: informaticus in action putting Q to work to solve complex problems. Utilizing Q: informaticus to study Q technology impacts academic disciplines in the science, arts, medicine, business, and telecommunications fields. Q is also one of the fastest growing fields in technology, and the demand is high. Last year alone, 88 percent of Q: informaticus constituents secured full-time employment within six months. Among students holding Master's degrees or a Ph.D., 98 percent accepted employment within six months of graduation. In a world of stagnating salaries, Q: informaticus constituents also enjoy an average salary. Q:Informaticus lays out a bright, flexible, structural path to a future and imparts valuable real-world experience and works side-by-side with some of the most innovative thinkers in the field. Q: informaticus prepares, excites, severs programming, technologizes, and generates futures. THE SILENT MASS GENERATOR WORKSHOP GES #411 ARCHIVE SPACE NOVEMBER 6, 2015 The Silent Mass Generator Workshop incorporated the public to assemble, build and incorporate physical mass within an experimental simulated mindfulness environment. The duration of the workshop spanned 5 hours and 44 minutes inside of The Grace Exhibition Space Shirt Factory Studio #411. There was no speaking, eating, or drinking. Participation was not required, participants were free to come and go, or stay for a portion of the workshop. The workshop was designed to distract the subconscious mind by the tedium of cutting, ripping, and tying material to form long strands in order to facilitate the entry into a mindful, meditative, psychic space. The project explored the development and agenda of interwoven notions of communal beliefs, material dynamics, possibilities of non-linear physical travel implied through numbers expressing location using longitude and latitude, the metaphor of breath in relation to inspiration and language styles expressing give-and-take or push/pull communication patterns, the articulation of verbal concepts in relation to the movement between ball-and-socket joints such as the hips and shoulders during the birthing-process, as well as the documentation of scientifically unsubstantiated effects of focused intention and ritual action in non-physical reality such as memory, deja-vu, and other phenomena of psychic imprint. An experimental soundscape designed with Christina Amelia Diamond acted as an electronic gong wash intended to initiate 23 cycles of ordered energetic body activation using specific Hz. Other auditory Information within the noise composition was generated by The Entity. Speaking was disallowed at The Silent Mass Generator Workshop. The Entity thanks Jeanie Antonelle, Undine Brod, Leonard Fujiyama, Hillary Harvey, Mor Pipman, and Christina Varga for their contribution of materials. more info. CALL FOR MATERIAL DONATIONS SEPTEMBER 25, 2015 The Entity seeks donations of scrap, waste, or unsellable materials such as fabric cut-offs, twine, rolled or spooled material, rope, ribbon, thread, or anything that is in long strands or could be cut and tied to form long strands. The nature of the project has lead to the present development of an official CALL FOR DONATED MATERIALS. The Entity also seeks donations of traditional artist’s materials as well as non-toxic industrial materials which might be repurposed. The upcoming phase of the project includes an opportunity for community participation with an interactive component in the form of a silent workshop intended to build physical mass through the hands-on manipulation of donated material. The workshop will be free and open to the public. FEEDING THE ENTITY MARCH 2015 Feeding The Entity explores the development and agenda of interwoven notions of communal beliefs, material dynamics, possibilities of non-linear physical travel implied through numbers expressing location using longitude and latitude, the metaphor of breath in relation to inspiration and language styles expressing give-and-take or push/pull communication patterns, the articulation of verbal concepts in relation to the movement between ball-and-socket joints such as the hips and shoulders during the birthing-process, as well as the documentation of scientifically unsubstantiated effects of focused intention and ritual action in non-physical reality such as memory, deja-vu, and other phenomena of psychic imprint.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FEMINIST ART GROUP (F.A.G) HURLEY, NY SEPTEMBER 1-4, 2017 THE OLD GLENFORD CHURCH STUDIO IV Castellanos, Amanda Hunt, Miette, Anya Liftig, Elizabeth Lamb, Jodie Lyn Kee Chow, Lorene Baboushian, Valerie Sharp, Kate Hamberger, Linda Montano, Ernest Goodmaw, Jennifer Zackin, Clara Diamond, Nina Isabelle

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... C O D E February 22, 2016 In response to Apple’s battle with the FBI over a federal order to unlock the iPhone of a mass shooter, C O D E looks at the differences between humans and machines and the difference between how these systems reveal or encrypt data through programming and intention.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ART/LIFE KINGSTON CLARA DIAMOND & NINA ISABELLE 2016

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... STAGES CLARA DIAMOND, NINA A. ISABELLE, & VALERIE SHARP GREEN KILL, KINGSTON, NY APRIL 15, 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... TWO THINGS CRACK IN HALF A Griswold Cast Iron pan from 1947 that belonged to my grandmother and a 500 ml Luminarc Working Glass both cracked in half in my kitchen on the same day. On December 27, 2022, I performed a photographic study and documentation of the objects. On February 20, 2023, I interviewed ChatGPT to help me understand. View & download full-color 30 page document here:

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PIANO PORTRAITS ​ By Linda Mary Montano with Nina Isabelle, & Jennifer Zackin HiLo Catskill, NY February 11, 2018 ​ During these dangerous / confusing / armageddonned times, we are all looking for connection, understanding and warmth. The three of us are committed to providing public art medicine. ART=LIFE=ART. For our PIANO PORTRAITS event at HiLo, we invite audience member-collaborators to sit in a chair on stage to receive a public art healing. Linda Mary Montano will improvise your piano portrait, Nina Isabelle will interpret you through action / movement, and Jennifer Zackin will macrame. Using knots and rope, sunglasses, costumes, blindfolds, action, movement, and sound, we will publicly heal ourselves and you. ART HEALS! ​ Photos by Adolfo Ibanez Ayerve and Carrie Dashow ​ Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLoa_3 Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve LINDA MARY MONTANO is a seminal figure in contemporary feminist performance art and her work since the mid 1960s has been critical in the development of video by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. Montano’s influence is wide ranging – she has been featured at museums including The New Museum in New York, MOCA San Francisco and the ICA in London. www.lindamontano.com NINA ISABELLE is a process-based multidisciplinary artist working with action and perception. She works to deconstruct sensory input to the extent that meaning becomes shifted and interpretations become a phenomena of psychic imprint. By incorporating physical movement, modified technology, art and non-art objects, her work builds systems of action designed to intuit site-specific information- tethering the collective, personal, and regional relative narratives that drive the performance space machine toward trajectories of new perception, belief, and possibilities. Referencing the inability of communication which is used to visualize reality, the failure of dialogue, the dissonance between form and content, as well as the shortcomings of literal language, Isabelle pushes material and information past the point of recognition in a way that forces a shift in meaning, revealing new information that can transform and challenge the limits of material, perception, and belief. Her work has been exhibited at The San Diego Art Institute, The Bangkok Underground Film Festival, HiLo Catskill, the CICA Museum in South Korea, and most recently, The Mothership in Woodstock, NY. www.ninaisabelle.com JENNIFER ZACKIN has been integrating public art, sculpture, installation, performance, collaboration, ceremony, photography, video, collage and drawing into acts of reverence and reciprocity for the past 14 years. Whether wrapping trees in patterns of brightly colored rope, growing medicinal herbs in a public garden for public use, offering large masses of rose petals to oceans and lakes, creating absorbent tentacles ("hair booms") out of salvaged materials to aid in the clean-up efforts of toxic spills, Zackin seeks to engage and create community in her process, bringing art and ritual into everyday life. Every act is an exploration of exchange, communion, performance, skill-sharing and mark-making. Writing in a cataloque essay about her work Lori Waxman states; “Jennifer Zackin has worked with Rose Petals, Little Plastic Cowboys, pre-Columbian symbols, bright handmade pom-poms, cheap mass-produced posters, coca leaves, and her grandfathers old Super-8 home movies. How she weaves them into rhythmic, often meditative forms depends in great part on the underlying pattern that she is able to detect and orchestrate among her diverse materials.” Her work has been exhibited in national and international museums, including the Whitney Museum of American Art NY, Aldrich Museum of Contemporary Art CT, Spertus Museum - Chicago IL, Rose Museum MA, the Wexner Center for the Arts OH, Contemporary Art Museum - Houston TX, The Henie Onstad Kunstsenter, Høvikodden - Norway, Institute of Contemporary Art - Boston MA and the Zacheta National Art Gallery - Warsaw, Poland. Commissions include Governors Island NYC with LMCC, Katonah Art Museum NY, Socrates Sculpture Park LIC - Queens NY and the Berkshire Botanical Gardens - Stockbridge, MA. She is the recipient of fellowships and residencies, including Factory Direct at Pinchbeck Rose Farm, Art Omi, Atlantic Center for the Arts and the Skowhegan School for Painting and Sculpture. www.jenniferzackin.com Event photo: Carrie Dashow

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... LANDLINES Performance by Nina Isabelle & Jennifer Zackin at CX Silver Gallery in Brattleboro, VT. August 26, 2018 An interactive type of immersion-therapy, Landlines invites viewers & participants to make their own meaning out of actions and gestures happening within a sea of dissonance. How do we cultivate the cultural phenomena of communication while agendas of power and dominance try to hijack our semiotic proclivity with fake news and ad campaigns designed to entrench us in divisive notions of entitlement and correctness? When lines of communication become connected to fear, anger, and resentment, how do we clear and reground them to empathy and grace? ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... LIVESTREAM NINA ISABELLE & ADRIANA MAGAÑA PERFORM DURING UPSTATE ART WEEKEND AT JENNIFER ZACKIN'S STUDIO IN WOODSTOCK, NY JULY 2022 Photo by Jennifer Zackin

LISTENING MEDIUMS OCTOBER 2022 HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More...

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... 650 ML. OF LUNG PUSS A seventeen-day artlife performance at Westchester Medical Center's Maria Fareri Children's Hospital in Valhalla, NY December 18, 2019 - January 3, 2020 650 ml. of Lung Puss was a seventeen-day performance initiated by a dire circumstance that ultimately demonstrated a quantum aspect of artlife processes. Influenced by my friend and artlife colleague Linda Mary Montano, the performance inspired a deeper understanding of a performance process that summons elemental energies from a nonlocational power source. These energies exist in a state of quantum superposition and can be programmed using intention, determination, focus, and sacrifice, to transmute pain, suffering, and trauma into tolerance, endurance, resilience, self awareness, control, forgiveness, grace, and gratitude. The performance began on December 18th when I carried my near lifeless and blue 94lb. daughter across a large, dark, silent, windy, and cold parking lot into the hospital's emergency room. The energies that fueled this difficult task were conjured from a deeply derived performative physical power cultivated by all mothers collectively throughout eternal time combined with the tension building from a deadlocked schism between my intuition and the medical authorities. In the past two days, we had been sent home from the emergency room and a pediatrician's office. Meanwhile, my daughter had developed sepsis from Scarlett Fever, Pneumonia, and a pleural effusion in her left lung. Our hospital performance engaged members of our close community, artlife collaborators and colleagues, friends and family, and the larger medical community of ambulance drivers, EMTs, emergency room attendants, nurses,doctors, phlebotomists, surgeons, lab and x-ray technicians, infectious disease specialists, sanitation specialists, medical administrators, and so on. Together, we collectively transformed into an unintentional ensemble performing actions together as our best selves in order to save a child's life. We embodied multiple and often simultaneous roles and embraced the fluctuating spaces between these modes. We performed as mothers, organizers, brothers, partners, distractors, whisperers of encouragement, visitors, tear swallowers, fear fighters, candle lighters, gift givers, keepers of tempers, story book readers, temperature takers, practitioners of patience, hand holders, phone callers, researchers, organizers, group texters, medicine givers, vomit bucket holders, comforters, food providers, errand runners, and healers. On the final day of our hospital performance, Linda texted "rest art!!!" to our group. We were finally able to go home, perform rest, and RESTART. This performance demonstrated that art and life function as entangled dimensions through subtle quantum artlife processes. We learned that approaches effective in art and performance dimensions are also effective in dimensions of life and other realities, and that intentions and actions occurring within one dimension simultaneously reflect, impact, and are made evident in multiple ways throughout multiple dimensions. Engaging with life circumstances through performative art mechanisms allows us to translate the diverse array of creative skills derived from our disciplined artlife practices, (our responsive, intuitive, reflexive, mindful, and conceptual abilities,) into cognitive modes of awareness that inform the new life patterns necessary to thrive as artists in life. Through this post-conceptualizing processes, we gain the ability to sidestep linear chronologies and reframe the concepts of our engagements post-performatively as a way to articulate with the personal mechanisms of awareness and control necessary to make meanings and choices that fortify our collective artlives in new and beneficial ways. List of Performers: Paul DeVincent, Ernest Goodmaw, Sylvia Hallibelle, Chris Hallman, Erik Hokanson, Eric Hurliman, Ulysses Hurliman, Bg Isabelle, Ed Isabelle, Kate Isabelle, Lou Isabelle, Louie Isabelle-DeVincent, Margie Isabelle, Nina Isabelle, Brian McCorkle, Jill McDermid, Paul McMahon, Linda Mary Montano, Ever Peacock, Mor Pipman, Valerie Sharp, Maureen Sharp, Luke Stence, Jennifer Zackin, and Havarah Zawaluk, many anonymous medical professionals, hospital workers, elementary school teachers, school nurses, community mothers and children.