 My name is Tina Escaja and we are here today in the exhibition at the Flindog Gallery, an exhibition that is collective and is under the title of Messages from the Anthropocene. This particular segment, my segment, is called Mar Ivirus, Virus on the Sea, and it started, of course, with a poem. And the poem, as you see in this banner, is a poem that talks about the concept of the relation of the virus, the COVID-19 virus, with the genetic code that all humans have in relation to previous epidemics, previous viruses, that also are part of the configuration of the original element, which is the sea. So this is a poem that I call an oleatory poem because ola means wave in Spanish too. So there is a continuous balance of waves in terms of the different possibilities of interaction that this installation provides. So what I'm going to do is to show some of those layers of interaction. So if you come with me, so you see here the viruses that have been overpopulating this space, going beyond the margins on the frame of this segment of the Flindog Gallery. So if you come here, for example, you have the sound of the sea, that it has sensors that recognize the human movement, and you have several ways of establishing interactions through, for example, QR codes. So here in the QR codes, you have one of the main QR codes, which is this one, and this QR code takes you to the what I call oleatory poem, which is a generative poem where the lines of the poem continuously re-establish themselves. So this is one of the interactive oleatory oleatory options. Other interactive options is something that they have around Burlington, Vermont, which is a QR code where you are invited to share your story. So it will take you to a program where you can record yourself talking about what represents, how is your relation with the COVID-19 experience. So again, it's a form of interaction and connection. I'm going to turn it off. Another level of interaction is that there are some components here that are signaled with red dot, where it takes you to an augmented reality element. And the augmented reality, again, is a form of interaction through technology without touching, because my idea always of my installation is interaction by touching, but considering the social distance, the technology allows us to go to different elements without the necessity of touching. So here is an augmented reality, here is the QR codes. I could show you the augmented reality component. Using the Blippar app, which is an augmented reality app and using your phone, you can scan the elements that are being highlighted and then you have other levels of interaction and experience of this project. In this case, there is a video based on the virus concept. So here you can listen to Christine Dijstra, who is a translator of this poem through the Blippar app. And here you can activate this barcode. If you activate these barcodes, you'll be able to leave your story in this platform. So another level of interaction is through these different ways, different opportunities to have a reflection about the impact of COVID-19 in our lives. These are two file cabinets that frame the installation. This one in particular is a feminist manifesto in times of coronavirus, a feminist manifesto against the Anthropocene, which is the impact of the human species in the environment. So I'm just suggesting, with this QR code, a reframing of that Anthropocene and that impact by an alternative into the gynecine, into the female. So also this is kind of an homage to a group, an absurdist group, a performance group called Feminists Against B.S., based here in Burlington, Vermont. I'm the co-founder with Laurie Essek and also we have Lindsay London and we did several performances over the years here in Vermont. But let me show you what you can find within those file cabinets, what is archive here. One of the files presents different alternatives to the Anthropocene, Anthropocentric paradigm by women that have been externally important in the history to establish that change, that alternative. Do you want to present those? Yes, absolutely. For example, we have here Clara Campo-Mor, who was very important for giving the vote for women in Spain, but we also have other presences very well known that have changed the way that the normative masculinist presence has been determining the way we understand history, literature, the canons, the different canons. And here, down here, I have artifacts related to one of the performances that we did as feminists against B.S. And as you see, we are detoxifying some components of that toxicity like the toxic masculinity of homophobia, transphobia, etc. So this is a performance we did a few years ago and I wanted to pay homage to that performance and that alternative. So if you go to this segment, here is the other file cabinet. This file cabinet, like the one that we just mentioned, is also an homage to my friend, Bren Alvarez, who created right here this monumental bureaucracy with a tower of file cabinets. And she also, Bren Alvarez has here in this space an inside-out representation of that file cabinet through a tower made with papers. So here we have another file cabinet and file cabinet means artifacts that contain human experience archive. So what is archived in this particular one are elements and artifacts related to the COVID-19 collective experience. So if we open here, you see things that you can find around in relation to the COVID-19 like the ubiquitous masks and also latex gloves. And here what I have is I created a projection of the videomarivirus as another level of experiencing that initial poem that is the genesis of the whole project. So this other level of interaction, as I said before, goes beyond because I'm like breaking the boundaries and the limits which is part of the whole concept of my own work but also of the virus that insidious or imposing around any limits and any configuration, traditional configuration. I went beyond this space and I went all over Burlington, Vermont but not only Burlington, Vermont, I'm sending QR codes asking, requesting and inviting people to tell their stories in other countries like Mexico and Spain. And the idea is to have this opportunity of explaining ourselves within that moment that is so pervasive and so historic. So this is kind of, of course, also I'm doing a capture poem and other different tentacular possibilities for the representation of COVID-19 in our era. Thank you.