“Sonic interruptions & noise channels: the voice, stammers, and glitch,” Alejandro T. Acierto

In my recent work that investigates multiple systems of communication and information, I am interested in how such streams of data and material can be disrupted and “cracked” through improbable layering and forced collisions. Creating such collisions and fissures that instantiate themselves as “noise signals” within a broader system that seeks unmediated, noiseless communication, my works for voice, electronics, text, and performance highlight the complex nature of communicating that problematize notions of “clarity” within multiple media.  As these interruptions build upon a (conceptual) framework of constraint, this performative lecture pushes the boundaries of the systems that contain them to forge unexpected vocabularies of resistance.




The Face is the Mask: Global Modifications of Body and Soul,” Tom Armbrecht

I am a tenured professor of French who has been a devoted body modification artist for more than 20 years.  I am halfway through a full Japanese-style bodysuit tattoo, am heavily and visibly pierced, have silicone injected in my genitals and upper-body, remove the hair from my head, and grow a long, full beard.  I have collected these bodily changes all over the world, from my prince Albert done in Boston in, to my Japanese-style tattoos done in the US and Switzerland, to my body reshaping done in Mexico.  Although unique and inhabited only by me, my body is a nexus of the various identities, cultures, and genders that I chose or am obliged to perform; it is, in a sense, an expression of the world in which I exist, and also an expression of my self.  I have chosen to make it so, legibly.



Oliver project 1

PowerPaint: Lessons from a Trans-Digital Gouache Experiment to Transform A Conference Talk and Reduce Modern Dysphoria,” Oliver Bendorf

What happens when you paint the slides for your conference talk? This session expands outward from my talk at a Digital Gender workshop at Umeå University, where painted slides tested the role of the human hand in the mind-body ‘problem’ of transgender, digital, and/or academic living. Do you too have “digital dysphoria”— a sense of mismatch between material and metaphor, a feeling of being fragmented across media? When it comes to navigating modern in-betweenities, where can the hand as interface lead? Join me in bridging queer theory and art-as-research to imagine a trans-digital methodology of the handmade.



Briddick project

“I saw I ere I was I,” Erin Briddick

On a fall day in 2005, Rip Stokes, my elderly neighbor, held a knife to my throat on account of a rather benign feminist protest sign hanging in my front window. So began a series of regressive responses, ranging from unproductive conversations to the stealing of Mr. Stokes’s birdfeeders. “I saw I ere I was I” investigates regression, movement, memory, cooperation, and repentance. Using palindromic language, the projection of reversed video, the backwards completion of tasks, and personal narrative, this performance takes audiences through the performer’s various lifetime regressions.



Molly Chelsea project

“Still Life With Vegetables,” Molly Budke and Chelsea White 

It’s just before lunch. Molly and Chelsea stand behind a table covered in sweet things. The audience members enter. Each will be presented with a portrait of themselves. How long will it last? How quickly will we consume our art?



Jim project

“Wandering through Taroko Gorge:  a Crowd-Sourced Poetry Performance,” James Burling

In this combination of presentation and poetry reading, I’ll present a remix of Nick Monfort’s javascript poetry generator, “Taroko Gorge.” My remix added a musical component using a computers oscilloscope function, and more importantly allows participant-observers to type in answers to prompts which are then added to the poem in real-time. The poem will be available throughout the day, gradually adding all inputs to its total sum. I’ll discuss the process of decoding html and javascript as a non-coder, describe some of my theories on participatory performance using computer interfaces, and raise questions about agency in performance and how a digital artifact can function as a poetic event.




“Race Decon,” Darla Courtney-Cordero

“Race Decon” is a feminist video art installation which seeks to explore and deconstruct social constructs surrounding race. The artist utilizes her body as a site of examination to slowly disrupt the viewer’s internalized notions of race. Inspired by casta paintings and the artist’s lived experience, by placing herself within two representational scenes, she attempts to confront the viewer’s perceptions of race, context and gender by changing her skin tones. Utilization of split screen images, appearing like diptychs, mimic the way slides appear within an art history classroom, a deliberate reference to the study of art, and an effort to bring new meaning to notions of othered bodies.  Within the interactive installation component of the project, the artist welcomes participants to insert themselves within the two original scenes of “Race Decon” and have their photo taken with the intention of self-exploration of race and context, and as a way to both expand and become part of the project as a whole.



photo 3

“Moving & Making: Performance and Process in Childhood Literacy Programs,” Laura Damon-Moore

Join us in an exploration of a library early literacy program called Movers & Makers. We open with a brief description of the program and the setting in which we find ourselves every week at a small public library outside of Madison, and then move in to the interactive portion of the session with movement, dance, song, and play. Attendees are invited to grab a carpet square and participate and consider the following: is this a performance? What is the role of routine and comfort in childhood literacy spaces? What does it mean to lead or be lead during such an activity? How can the relationship between leader and audience be subverted, and should it be?



Jeff project

“Historicizing Mad Theory,” Jeffrey Hobbs

In my performance, I will test the boundaries of the methodological approach of history in which the historian acts as a “neutral” and “rational” observer who analyzes discourses and performances of historical actors. I will use twitter to record my experiences at the symposium and attempt to find the “objective” or “factual.” However, at the same time, I may take up different subject positions in order to shift or to distort representations of the event and the experience of others.



Kat project

“Site Specificity and the Role of Cultural Etiquettes: Lights Out and Cafe Allongé in Performance,” K. Frances Lieder

In my performative presentation, I begin by introducing the participants to the space, a space that is already coded for certain behaviors, that communicates certain social cues and normative expectations in its very being. I then move to a description of two projects that both engaged with the notion of space’s social expectations: one, a play that I directed in which the audience inhabited the same space as the actors and the other, a one-on-one performance in which I tried to highlight the cultural coding being simultaneously performed and projected in a coffee shop.



Eva project

“Speed Ideating,” Eva Maxwell

The outcome of a certain social circumstance — whether related to one’s work, personal relationships, or random everyday experience — can be dependent on a person’s ability to communicate well. Though, with this in mind, it is important to note that each person processes the information with which they are presented differently, and, subsequently, how they are able to reflect what they understand through what they say will be different. In this workshop, participants are invited to explore their own experience in conversation when the normal social confines have been stripped away, and all you are left with is a stranger sitting across from you, a question, and two minutes.



Jon project

“The Secret to Theory is a Good Set of Subwoofers,” Jon McKenzie

Does theory have a proper sonic range and, if so, what is its relation to institutional histories and environmental forces? How have cultural values of voice, melody, and clarity shaped the installation of treble-range speakers in schools and conference centers to the near exclusion of bass-range subwoofers? What can we read in this pattern or infrastructural rhythm? And might the future of high theory lie in the bottom, in its base bass beat? Such a premise informs a series of videos that mix theory and music, ideation and spectacle and draw on 20th-century experimental theory and avant-garde film practices.



dijana project

Image by Anne McClintock

“(Hidden) Affinities,” Dijana Mitrović

In the age of unprecedented consumerism, constant crisis, perpetual conflict, and immediate urgency to face the repressed reality of global warming, one is inevitably called upon to interrogate her position in the larger order of things. In the participatory performance “(Hidden) Affinities,” I question and invite the spectators to probe the (in)visible ethics that brings politics and desire together. Through visual, auditory, tactile, and olfactory stimuli, the audience members are incited to sense and comprehend their unity with the world they are wasting by fulfilling desires that are rarely their own.


Miranda project

Being and Timing: Hamlet, Heidegger and Thinking About Death,” Miranda Nell

This presentation will begin with an academic reading of Hamlet’s  famous soliloquy followed by a theatrical performance of a selection from Heidegger. Afterward we will discuss both the meaning of both texts, and the influence of the way in which they were introduced. My suggestion is that in this case Heidegger is dealing with a more dramatic vulnerability, and that exploring the ideas through the form as well as content will help uncover important philosophical claims about the human relationship to and understanding of death.



Frederic project 2

“Chaos Reigns,” Frédéric Neyrat

This video deals with Heidegger’s philosophy; but Heidegger’s thought is – inadvertently, for sure – backed by techno music. Heidegger, concerned with language and technologies, is savagely plunged in a world of “poor-in-world” animals. Of bloody animals. Of dying animals uttering silenced words that a man, lost in a forest, hallucinates as a political statement: “Chaos reigns” – his own disavowed voice. His unreproducible voice. If humans could talk, foxes would not understand them.



Angela project

The Office of Transcription, Translation, and Transmutation,” Angela Richardson

The Office of Transcription, Translation, and Transmutation provides professional assistance for the harried and handwriting-impaired. We understand that as a member of today’s busy, be-gadgetted society, you simply do not have the time or the patience to write letters by hand anymore.  We have no doubt that your text messages are hilarious. Likewise, your tweets and Facebook posts are surely brilliant. But perhaps you lack the necessary skills to execute long, personal communications…sans keyboard and monitor? If so, please allow the Office of Transcription, Translation, and Transmutation to put its pen to paper for you.





“Soft light creeps in from stage left.  Tense plastic nets that caress and receive.  (We recited possibilities aloud.  We made charts.)”  

The scene: two podiums; projection of jellyfish imagery behind the podiums; soft, dreamy light. Binaural beats play throughout the performance, slowly increasing in volume.  In Part 1, “The Pleasure of the Text,” Snake and Reverend each stand behind a podium, giving an academic lecture about desire and textuality.  In Part 2, “Your deepest desires are thick and textured, resonant and tender,” Reverend and Snake leave the lecterns, moving throughout the entire space of the room, transitioning from academic lecturers to religious cult leaders.  In Part 3, “Anything for Love,” Meat Loaf’s song “I’d Do Anything for Love” begins to play…




“Imaginary Beings, Imaginary Audiences,” Charles Schultz

Drawing on Gregory Ulmer’s concept of “mystory,” Imaginary Beings, Imaginary Audiences will collage together research, theory, and performance to argue for a new moral and practical understanding of imaginary beings in and as performance.  The presentation, conceived as a prolegomena, will encompass the presentation of documentation from and reflections on a project that bridges life and performance art: the presenter’s ongoing romantic relationship with the character Applejack from the television program My Little Pony: Friendship is Magic, framed by comments from a variety of theoreticians. A symbolic reinterpretation in performance of an old urban legend will complement this material.



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