I need to make clear that this is not an attempt to recreate in cyberspace what it was like to attend a live performance of 13 ways to kill a mockingbird.  I wish you’d been here, but most of you weren’t.

The spectator will no doubt notice that the installations in the present performance and the past one do not neatly correspond. Some of the installations you will find here weren’t in the show, and, conversely, some of the installations in the show aren’t here.  Nor did the past performance neatly correspond to Harper Lee’s novel; nor did the 1963 MGM feature film neatly correspond to the novel; nor did the novel neatly correspond to Harper Lee’s life story, and so on.  But if, as Paul Edwards argues, “Adaptation has become an everyday art and a ubiquitous communication practice of digital consciousness, playing in improvisatory ways beyond the boundaries of the identified, sustained art work” (376), this electronic installation, a set of nodes in a web of “palimpsestic” tissues of adaptation (Edwards 370; Hutcheon 6), purposefully sets out to play on and against those boundaries, wondering along the way how fixed they ever really were.

see Tom, Ham, Scout, and the other Scout run