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	<title>Kristine Leschper</title>
	<link>https://kristineleschper.com</link>
	<description>Kristine Leschper</description>
	<pubDate>Wed, 16 Sep 2020 19:01:46 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://kristineleschper.com/Home</link>

		<pubDate>Tue, 08 Sep 2020 01:14:28 +0000</pubDate>

		<dc:creator>Kristine Leschper</dc:creator>

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		<title>kristine leschper music</title>
				
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		<pubDate>Tue, 08 Sep 2020 01:20:28 +0000</pubDate>

		<dc:creator>Kristine Leschper</dc:creator>

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		<description>The Opening, Or Closing Of A Door by Kristine Leschper


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		<title>mothers intro</title>
				
		<link>https://kristineleschper.com/mothers-intro</link>

		<pubDate>Wed, 16 Sep 2020 19:01:46 +0000</pubDate>

		<dc:creator>Kristine Leschper</dc:creator>

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Mothers was born in 2013 as a performance moniker for solo shows, but quickly evolved into a collaborative rock band. Mothers released two studio albums, When You Walk A Long Distance You Are Tired (2016) and Render Another Ugly Method (2018). Musicians involved with the project over the years
 include Matthew Anderegg, Garrett Burke, Drew Kirby, Chris Taylor, Chris Goggans, Patrick Morales, and Mckendrick Bearden.


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		<title>singles rarities &#38; b-sides</title>
				
		<link>https://kristineleschper.com/singles-rarities-b-sides</link>

		<pubDate>Tue, 08 Sep 2020 02:02:44 +0000</pubDate>

		<dc:creator>Kristine Leschper</dc:creator>

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		<description>Singles / Rarities / B-Sides







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		<title>1</title>
				
		<link>https://kristineleschper.com/1</link>

		<pubDate>Thu, 10 Sep 2020 06:20:46 +0000</pubDate>

		<dc:creator>Kristine Leschper</dc:creator>

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		<description>



Three Movements:
One Foot In Front Of The Other&#38;nbsp;
(2020)



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		<title>2</title>
				
		<link>https://kristineleschper.com/2</link>

		<pubDate>Thu, 10 Sep 2020 06:20:41 +0000</pubDate>

		<dc:creator>Kristine Leschper</dc:creator>

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		<title>3</title>
				
		<link>https://kristineleschper.com/3</link>

		<pubDate>Thu, 10 Sep 2020 06:20:29 +0000</pubDate>

		<dc:creator>Kristine Leschper</dc:creator>

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		<title>WOMAN video content</title>
				
		<link>https://kristineleschper.com/WOMAN-video-content</link>

		<pubDate>Wed, 09 Sep 2020 00:51:18 +0000</pubDate>

		<dc:creator>Kristine Leschper</dc:creator>

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Woman In Autobiographical Pain
(2020)


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Woman In Autobiographical Pain&#38;nbsp;is a performance in three parts. Each act explores a stage of grief on the Kübler-Ross model by pairing it with a point-of-view literary device; in this way we can observe the various needs for control, and eventually submission, within the grief cycle. These literary devices create a framework for examining the precarious illusion of a “united self”, as well as the notion that women’s writing is inherently autobiographical.&#38;nbsp;
watch the performance --&#38;gt;
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	<item>
		<title>SRT intro images</title>
				
		<link>https://kristineleschper.com/SRT-intro-images</link>

		<pubDate>Tue, 08 Sep 2020 01:22:21 +0000</pubDate>

		<dc:creator>Kristine Leschper</dc:creator>

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		<description>Synthetic Reacquisition Theatre





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		<title>SRT statement &#38; booklet</title>
				
		<link>https://kristineleschper.com/SRT-statement-booklet</link>

		<pubDate>Thu, 10 Sep 2020 20:13:27 +0000</pubDate>

		<dc:creator>Kristine Leschper</dc:creator>

		<guid isPermaLink="true">https://kristineleschper.com/SRT-statement-booklet</guid>

		<description>Synthetic Reacquisition Theatre (2020) is an investigative approach to meaning-making that interrogates constructed memory. It interrogates the accuracy of a reconstitution process that occurs when we attempt to organize fragmented sensations (raw data) and visualize a memory ‘in the round’, at which point we define the meaning of the raw data through our choices of signs and symbols.&#38;nbsp;
SRT utilizes the sensibilities of Forensic Architecture - the applied idea of reconstructing an event through a patchwork of disparate sources such as audio, video, image, and testimony to uncover truths. The work invites viewers to regenerate two memories (referred to as ‘recovered animations’) through a patchwork of falsified bystander accounts and images in an accompanying booklet, which serves as both guide and equivocator. Within this theatre, the viewer is given responsibility to separate fact from fiction - or perhaps simply to accept that a synthesis of the real and the invented constitutes much of the information that informs our ideas of selfhood.&#38;nbsp;



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