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DOI: 10.1017/9781009202633 |
hot news...
MY EXPERIMENTAL FILM DESCRIPTIONS OF THE SOUNDS OF THE MANUAL LABOR OF HOGS, HORSES, HUMANS & DOGS FROM MORE WESTERNS THAN I CARED TO SEE WAS SCREENED AT EXPERIMENTAL FILM ODYSSEY I WENT TO COSTA RICA TO LEARN THE PRINCIPLES OF PERMACULTURE. AN AUDIO PIECE IS ON THE WAY! |
cold news...
MY FILM COSMIC IMPERMANENCE WAS SCREENED AT SOUTHAMPTON FILM WEEK AND EPHEMERE--LONDON EXPERIMENTAL FILM FESTIVAL, BOTH IN THE UK
MY BOOK SHAKESPEARE AND NONHUMAN INTELLIGENCE IS OUT!
THE WEBSITE FOR MY NEW COLLABORATIVE PROJECT, FALSE RHYME: THE SOUND OF SCIENTIFIC FAILURE, IS UP AND RUNNING.
MY FILM COSMIC IMPERMANENCE WAS SCREENED AT SOUTHAMPTON FILM WEEK AND EPHEMERE--LONDON EXPERIMENTAL FILM FESTIVAL, BOTH IN THE UK
MY BOOK SHAKESPEARE AND NONHUMAN INTELLIGENCE IS OUT!
THE WEBSITE FOR MY NEW COLLABORATIVE PROJECT, FALSE RHYME: THE SOUND OF SCIENTIFIC FAILURE, IS UP AND RUNNING.
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I am an artist, performer, researcher, and educator based in Lubbock, Texas. I earned a PhD in Performance Studies and certificate in Film Studies from the University of California, Berkeley, where I did design-oriented solo performance, researched Czech surrealist stop-motion animation in Prague, taught acting at the Berkeley Repertory Theatre, and wrote a dissertation on discourses of life in animation, dance film, and digital architecture. As a mentor of graduate students, I specialize in supporting practice-based, feminist, and/or philosophy-oriented arts research; projects engaging with film and media studies; and performance and intermedia art.
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My artistic practice uses repetition to fiddle with the boundary between the preprogrammed and the spontaneous. Currently working primarily in experimental film and sound art, I design stubbornly lo-tech procedures for media creation, often using my own messy bodily and cognitive labor to accomplish what computational algorithms do better. For various process-focused pieces, I compiled every reference to the smell of money on Google Books; made a list of every description of the sound of animal labor from the closed captions of Westerns streamed day and night over a period of two weeks; and used microbes to decompose 35 mm found footage over 10 days for a film about death. My work participates in the ongoing redefinition of personhood in response to new communication technologies. It has been shown at festivals and in galleries around the world—recently, in Pune (India), Venice (Italy), London (UK), Austin (Texas), and Kansk (Russia).
Most of my academic writing accounts for 19th-21st century new media—from photography and animation to social media and generative AI—as speculative philosophies of personhood. My scholarship is distinctive in its approach to animation studies and its early attention to girliness as an operative aesthetic in online settings. I have written three books: Girlhood and the Plastic Image, Young-Girls in Echoland: #Theorizing Tiqqun (co-authored with Andrea Jonsson), and Shakespeare and Nonhuman Intelligence, which presents the Bard as the embattled figure of writing in the age of ChatGPT and other alleged crimes against the human organism.
I am member of CO-OPt, an artist-run gallery and experimental music venue in Lubbock profiled in The Wire music magazine, and artist-in-residence at a biophysics lab in Massachusetts.
Most of my academic writing accounts for 19th-21st century new media—from photography and animation to social media and generative AI—as speculative philosophies of personhood. My scholarship is distinctive in its approach to animation studies and its early attention to girliness as an operative aesthetic in online settings. I have written three books: Girlhood and the Plastic Image, Young-Girls in Echoland: #Theorizing Tiqqun (co-authored with Andrea Jonsson), and Shakespeare and Nonhuman Intelligence, which presents the Bard as the embattled figure of writing in the age of ChatGPT and other alleged crimes against the human organism.
I am member of CO-OPt, an artist-run gallery and experimental music venue in Lubbock profiled in The Wire music magazine, and artist-in-residence at a biophysics lab in Massachusetts.