<html><head><meta http-equiv="Content-Type" content="text/html; charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;" class=""><div style="margin: 0px; font-stretch: normal; font-size: 10px; line-height: normal; font-family: "Times New Roman"; color: rgb(25, 25, 25); min-height: 11px;" class=""><span style="font-kerning: none" class=""></span><br class=""></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="-webkit-font-kerning: none;" class=""><b style="color: rgb(25, 25, 25); font-family: "Times New Roman"; font-size: 14px;" class="">I am new to ~empyre~ since it’s a soft skinned space, stretching over time and body, I feel drawn to this community, so thanks to Tim and Renate for inviting me. Although unfortunately, I never got to know Tony Conrad as much as I have Kathy High, I feel like we have a lot in common when it comes to play across disciplines. The following quote is from Emily Hartzell in the video Nina Sobell: Pioneer In Interactivity, 1993, “Her goal in developing interactive environments whether sculptural or high tech is to provide the stage and the props which enable people to rediscover their capacity to play. It is through play she believes that we evolve as individuals and as a culture.” It all started when I began using foam rubber to construct large sculptures that people could throw and rearrange, tubes to roll down hills, Instant Night Box for One to Three people, Green Mountain with Simulated Sunlight, sculpture to hang over your bed and more at Tyler in 1969. I went on to Cornell, and while there I began making more tubes to roll down hills in, the Rockable, The Moveable Ceiling, the Cones and Balloons. </b><a href="http://colophon.com/ninasobell/parkbench_docs/portfolio/1/frame.html" style="color: rgb(25, 25, 25); font-family: "Times New Roman"; font-size: 14px;" class=""><span style="font-stretch: normal; line-height: normal; -webkit-font-kerning: none;" class=""><b class="">http://colophon.com/ninasobell/parkbench_docs/portfolio/1/frame.html</b></span></a><b class=""><font color="#191919" face="Times New Roman" class=""><span style="font-size: 14px;" class=""> When I proposed doing my thesis in video, granted they were early days and first in art I believe, the sculpture department balked. They responded with “what does video have to do with art and what you’re doing is play, not sculpture.” It was then that the Chairman Jason Seeley, told me they were surreptitiously planning to have me leave. He suggested changing my thesis committee to include himself, since he was a sculptor and visiting sculptor David Von Schlegell, which I did just in time, all hours before an unbeknownst deadline for that change to occur and received my MFA </span><span style="caret-color: rgb(25, 25, 25); font-size: 14px;" class="">’</span><span style="font-size: 14px;" class="">71, with congrats from Victor Colby and Jack Squier. </span></font></b></span></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="-webkit-font-kerning: none;" class=""><b class=""><font color="#191919" face="Times New Roman" class=""><span style="font-size: 14px;" class=""><br class=""></span></font></b></span></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><span style="-webkit-font-kerning: none;" class=""><b class=""><font color="#191919" face="Times New Roman" class=""><span style="font-size: 14px;" class="">Just a bit about my thesis show in Sibley Hall gallery, </span></font></b></span><b style="color: rgb(25, 25, 25); font-family: "Times New Roman"; font-size: 14px;" class="">I was very interested in sculptural issues and issues of time: the transition into video. </b><span style="-webkit-font-kerning: none;" class=""><b class=""><font color="#191919" face="Times New Roman" class=""><span style="font-size: 14px;" class="">I took a six week period of time, documenting the interaction with objects I made and set out anonymously for four consecutive weeks, edited the tapes in the fifth, and presented the installation during the sixth week. </span></font></b></span><b style="color: rgb(25, 25, 25); font-family: "Times New Roman"; font-size: 14px;" class="">The work itself progressed from a focus on the audience interaction with the physical (documented with video) to the disintegration of the object and presentation of the memory of that interaction.</b><b class=""><font color="#191919" face="Times New Roman" class=""><span style="font-size: 14px;" class=""> I reconstructed the experience on each of four monitors in a circle, and placed a rockable couch, a physical symbol in the center. One walked from that time and space to a six-second time-lapse monitor marking the passage from past to present. It concluded with a closed-circuit video work- the immediate moment, which acted as a reaffirmation the physical existence of the viewer in the present, but also as a reminder of its transitory nature. The resulting output was as diverse as the individuals who partook, the dynamics between them and the way they chose to engage with the work. </span></font></b></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><b class=""><font color="#191919" face="Times New Roman" class=""><span style="font-size: 14px;" class=""><br class=""></span></font></b></div><div style="margin: 0px; font-stretch: normal; line-height: normal;" class=""><b class=""><font color="#191919" face="Times New Roman" class=""><span style="font-size: 14px;" class="">The following collaborative video works are all tools that invite play and communication in cross-disciplinary modes: BrainWave Drawing, drawing mental and physical interactive portraits by two or more; Videophone Voyeur, extending the gallery front window for public interaction,</span></font></b><b class=""><font color="#191919" face="Times New Roman" class=""><span style="font-size: 14px;" class=""> htt</span></font></b><b class=""><font color="#191919" face="Times New Roman" class=""><span style="font-size: 14px;" class=""><a href="p://www.narrabase.net/Nina_Sobell.html" class="">p://www.narrabase.net/Nina_Sobell.html</a></span></font></b><b class=""><font color="#191919" face="Times New Roman" class=""><span style="font-size: 14px;" class="">; Six-Moving Cameras; ParkBench, a safe place to sit in cyberspace- an invitation to perform over the internet and VirtuAlice, a cyber vehicle ‘95. Thanks! </span></font></b></div><div class=""><span style="font-kerning: none" class=""><b class=""><br class=""></b></span></div><div><br class=""><blockquote type="cite" class=""><div class="">On Oct 2, 2019, at 5:44 PM, Kathleen McDermott <<a href="mailto:katmariemcdermott@gmail.com" class="">katmariemcdermott@gmail.com</a>> wrote:</div><br class="Apple-interchange-newline"><div class="">----------empyre- soft-skinned space----------------------<div dir="ltr" class=""><div dir="ltr" class=""><span id="gmail-docs-internal-guid-501bf06c-7fff-427b-9613-dd14e0e72a4d" class=""><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="font-size: 11pt; font-family: Arial; background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">Thank you all for inviting me into this conversation! I unfortunately did not have the pleasure of getting to know Tony personally, however, I’ve felt extremely inspired by his commitment to breaking down boundaries and hierarchies within creative practice. As evidenced by, as David said, his commitment to his project </span><span style="font-size:11pt;font-family:Arial;font-style:italic;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap" class="">Studio of the Streets</span><span style="font-size:11pt;font-family:Arial;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap" class="">, a project that intentionally troubles the space between art and life and who gets to participate in both creative practice and public dialogue... Tony seemed to me to have a unique ability to see through systems of value and to avoid becoming trapped within them. </span><span style="font-family:Arial;font-size:11pt;white-space:pre-wrap" class="">I think this allowed him to make space for other people to be creative too. </span></div><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="font-family:Arial;font-size:11pt;white-space:pre-wrap" class=""><br class=""></span></div><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="font-family:Arial;font-size:11pt;white-space:pre-wrap" class="">To encounter Tony’s work is a generous experience, like someone inviting you into a creative home, as Margaret implied. It reminds me that one of the first questions Kathy High ever asked me was, “Who are your people?” We need to know our artistic kin, not as people to envy (though I envy the practices of so many!) but as people to feel aligned with, indebted to, in dialogue with, in the legacy of…. Maybe squatting in a corner of their "house"… ? </span></div><br class=""><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="font-size:11pt;font-family:Arial;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap" class="">To that end, the question of challenging systems of value definitely comes up for me when considering humor and play as valid pursuits within creative practice. When I arrived at RPI in 2015 I was making work that was very centered on play, but I rarely talked about it that way, I was sort of flailing about looking for a framework that would lend me some legitimacy in a PhD context. When I presented my work at our first critique with Kathy, Pauline, Igor, Shawn, and the other great folks in the Electronic Arts program, I was immediately asked, “And what about humor and play?” It was like someone turned a light on in my brain– I felt so happy to have been given a pass to frame my work in a way that was much more intuitive for me, even in an academic environment. (And I should note Samson Young, who I met in Hong Kong, also gave me a great push toward play!) </span></div><br class=""><span style="font-size:11pt;font-family:Arial;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap" class="">I’m particularly interested in seeing play discussed in academia because this is a sphere where we are often in the business of policing disciplinary boundaries. Artists working across disciplines are necessarily crossing boundaries, challenging ideas of who can fuck around with electronics and who can form an opinion on biopolitics; and expanding conceptions of what tools (and bodies!) can do. Play, and the humility that comes with it, is a vital part of this boundary crossing process. Play is joyful and it can also be sly. As playful artists we become, as Shumon Basar has put it, </span><span style="font-size: 11pt; font-family: Arial; background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">“Professional Amateurs,” who “generate knowledge by elision, contingency and exacting luck.” It’s a term that can be related to Lewis Hyde’s definition of a trickster: a boundary-crosser, “creative idiot,” and “wise fool.” Play supports an in-between space, it is often non-binary, and it is often, </span><span style="font-size:11pt;font-family:Arial;font-variant-numeric:normal;font-variant-east-asian:normal;vertical-align:baseline;white-space:pre-wrap" class="">to Paige’s points, a feminist act. </span></span><br class=""></div><br class=""><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Wed, Oct 2, 2019 at 4:17 PM Margaret Rhee <<a href="mailto:mrheeloy@gmail.com" class="">mrheeloy@gmail.com</a>> wrote:<br class=""></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">----------empyre- soft-skinned space----------------------<div class=""><div dir="auto" class="">Thank you Paige and David. I’m writing on my IPhone now, before I get to the office with Internet at Buffalo. I thought of Tony often, although we hadn’t met, every time I’m in the halls of Media Study at SUNY, or blessed time with Paige in her beautiful home she shared with Tony. And even visits to Buffalo City Hall. Last year, when I was at Harvard, Tony’s retrospective was a few feet away from my office. The Buffalo—Cambridge connections created a space, a sense of home. </div></div><div dir="auto" class=""><br class=""></div><div dir="auto" class="">Perhaps that’s what I’m struck by, the expansive ways artistic home is created through the practices and play, and the feminialism! that Paige brilliantly points out how domestic work can and should be honored as part of “art” practices and collaboration. </div><div dir="auto" class=""><br class=""></div><div dir="auto" class="">The laboring practices of art, as David shared in his moving post that Tony made space and “home” for a community musicians or even interests in Chicago as a livable place, the importance of a city as home.</div><div dir="auto" class=""><br class=""></div><div dir="auto" class="">I’ve been preoccupied with notions of queer domestic life in a separate cover and perhaps that’s why my thoughts are veering or intersecting, but it makes me wonder about practice and play if explicitly to explore it, and artistic spaces/home. </div><div dir="auto" class=""><br class=""></div><div dir="auto" class="">Where is this found? Can people or is a person an artist that can make a home? </div><div dir="auto" class=""><br class=""></div><div dir="auto" class="">I’m thinking now of Paige’s extraordinary film <i class="">The Last Slide Projector</i>, which reminds me of Intimacy, memories, images and home. The film in it’s intimacy and voice over reminds us of the photograph shared communally in homes. And remapped WNY too, with Rochester now as the site of the ceasing of machinists production. </div><div dir="auto" class=""><br class=""></div><div dir="auto" class="">The ways Tony critiqued capitalist modes of production of art, which made playfulness possible. The gallery not as the only home for art. Nor theatre as the only filmic experience. </div><div dir="auto" class=""><br class=""></div><div dir="auto" class="">I’ll end this with small quote from David’s luminous poetry book, <i class="">now that the audience is assembled</i>, a haunting imaginary which breaks the visualization of instruments and performance, the stage, and even home? </div><div dir="auto" class=""><br class=""></div><div dir="auto" class="">“There’s a shimmering both audible and visible.” (75) <br class=""></div><div dir="auto" class=""><br class=""></div><div dir="auto" class="">I’m not sure how much I like the word home, but I’ll play with this now.</div><div dir="auto" class=""><br class=""></div><div dir="auto" class="">Kathleen, I’d love to hear more about your work with Kathy High and influences from Tony on your expansive art practices. This is such a honor to be in conversation with you, Paige, and David. </div><div dir="auto" class=""><br class=""></div><div dir="auto" class="">Grateful for structures that make conversations possible. </div><div class=""><br class=""><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Tue, Oct 1, 2019 at 8:3t3 PM David Grubbs <<a href="mailto:bluesea@dragcity.com" target="_blank" class="">bluesea@dragcity.com</a>> wrote:<br class=""></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">----------empyre- soft-skinned space----------------------<div dir="ltr" class=""><div class="">Dear all:</div><div class=""><br class=""></div><div class="">Glad to be taking part. </div><div class=""><br class=""></div><div class="">I met Tony Conrad and first started playing music with him in 1994, when he came to Chicago to record the album <i class="">Slapping Pythagoras</i> for the Table of the Elements label. I knew the tiniest bit about him as someone who had been a participant in the Theatre of Eternal Music many many years before, and that he had played a role in the prehistory of the Velvet Underground. I think that I was also aware of <i class="">The Flicker</i>, but only as a rumor. Jim O'Rourke, with whom at the time I played in a group called Gastr del Sol, had recently returned from a festival in Frankfurt where he had seen Tony do one of the first <i class="">Early Minimalism</i> performances, and he was bouncing off of the ceiling with excitement, and he had arranged for Tony to come to Chicago to record with a bunch of our friends. On <i class="">Slapping Pythagoras</i> I was one of six in a hapless ad hoc ensemble of people bowing electric guitars. Tony's coaching session for the recording was more like a lecture on just intonation and tuning systems and blew all of our minds and also had us busting guts with laughter. We more or less couldn't believe that this guy was real. On that record, I also play percussion. Tony needed a low sound and a high sound, so I thudded a pillow with a baseball glove and pinged a pint glass with a rolled up guitar cable. We hit it off, and so in various configurations I recorded with Tony, toured with him, played with him in an ensemble performing Pauline Oliveros's <i class="">Primordial/Drift</i> (man, that was fun), hung out a bunch, interviewed him, wrote about him in my book <i class="">Records Ruin the Landscape</i>, did time on the board of ISSUE Project Room with him, etc., etc. He keeps popping up -- or his ideas do or shards of his sense of humor -- in two book-length poems that I've written that are also stabs at music writing. </div><div class=""><br class=""></div><div class="">Paige's recollection about Tony's sense of his collaboration with Beverly Grant rings true to me. I mean, Tony had his work cut out for him showing up in Chicago to play with this gaggle of white, twenty-something dudes (and one white, something gal) whose worldview was considerably narrower than any of us understood; his mission to school us expanded far beyond tuning systems. He was always in his weird Socratic way making us think about how it might be possible that we were doing all of these rad things we were so proud of doing. I remember a group interview in Chicago a couple of years later for a Table of the Elements festival where it was one musical ego after the next, myself included, trying to get in a few words about their important upcoming projects and all that Tony wanted to talk about was how Chicago seemed a great place to live cheaply and not have to work a lot, and how you could <i class="">definitely </i>get by not having a car, and how people were very attached to their cars in an unhealthy way and that Chicago's public transportation seemed pretty good and the city eminently navigable by bike.</div><div class=""><br class=""></div><div class="">I'll toss one other thing out there. I can't really remember Tony ever blowing his own horn re the breadth of media or disciplines in which he worked, unless it was to thwart expectations. Around the time of those first meetings in Chicago, Tony screened a number of his films -- they floored a lot of folks, suddenly it was all we wanted to talk about -- but he seemed more jazzed to discuss <i class="">Studio of the Streets</i>, his public-access TV show in Buffalo, and the homework helpline that he ran.</div></div><div dir="ltr" class=""><div class=""><br class=""></div><div class=""><br class=""></div><div class=""><br class=""></div><div class=""><br class=""></div><div class=""><br class=""></div><div class=""> </div><br class=""><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Tue, Oct 1, 2019 at 4:36 PM Paige Sarlin <<a href="mailto:p.sarlin@gmail.com" target="_blank" class="">p.sarlin@gmail.com</a>> wrote:<br class=""></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">----------empyre- soft-skinned space----------------------<div dir="ltr" class=""><div dir="ltr" class=""><div style="font-family:verdana,sans-serif" class=""><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">Thank you, Margaret and Renate. </span></div><br class=""><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">It's hard to know where to begin. Tony Conrad thought and worked at the intersections of play and collaboration across decades and media. Playing with others on stage and off was serious fun for him. We don't always call the sort of "playing the audience" that tony did “collaboration” -- but tony did. </span></div><br class=""><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">In the vein of more recognizable forms of collaboration, tony and I played music together almost everyday. I'll say more about our collaborations later in the week -- but I've attached one of our recordings below.</span></div><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class=""><br class=""></span></div><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">For today, though, I want to tell a story about TC's collaboration with another one of his wives to get us thinking about the structural conditions that enable play and collaboration.</span></div><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class=""><br class=""></span></div><div style="line-height: 1.656; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">The late David Pendleton included </span><span style="background-color: transparent; font-style: italic; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">Straight and Narrow </span><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">(Tony and Beverly Conrad, 1970) in his film program at The Flaherty Film Seminar the summer after tony died. The theme that year (2016) was “Play.” It was an absolutely perfect choice -- the film embodies TC’s radical commitment to play-- and to the joy it produces. It’s my favorite of all his films. The first time I saw the film, I was at a screening in London and tony was seated right beside me. I turned to him and said -- it’s the snoopy happy dance… my snoopy happy dance… experimental minimalist white boy style. </span></div><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class=""><br class=""></span></div><div style="line-height: 1.656; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">I’m not sure the peanuts reference meant much to him -- but the film still has the same happy-making effect on me. I played it yesterday for my class of 110 undergraduates and it’s kept me humming "Ides of March" -- the John Cale and Terry Riley tune the film is set to -- since then. I’ve been teaching this Introduction to Media Study class and screening </span><span style="background-color: transparent; font-style: italic; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">The Flicker</span><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class=""> every year for the last 6 years. When tony was alive, he’d come to the class -- he’d say absolutely nothing about the film and we’d hit play (sorry cinephiles -- there’s no 16mm print of </span><span style="background-color: transparent; font-style: italic; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">The Flicker</span><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class=""> at University at Buffalo). He and I would sit on the edge of the stage and look out at the students and watch them watch </span><span style="background-color: transparent; font-style: italic; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">The Flicker</span><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">. Never the same twice, he said, for him or for them.</span></div><p dir="ltr" style="line-height:1.656;margin-top:0pt;margin-bottom:0pt" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class=""> </span></p><div style="line-height: 1.656; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">Yesterday, I watched tony and beverly’s film do what tony was so good at -- it cleaned the slate for me and my students. Wiping assumptions right off the table, tony loved to pick the needle up during a broken-record debate and reset the game. No, the basic of unit of cinema is not the shot or the cut, but -- the frame. And constructing a film out of black and white frames means that light and sound play the room with you and me in it. </span></div><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class=""><br class=""></span></div><div style="line-height: 1.656; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">About a week after I saw </span><span style="background-color: transparent; font-style: italic; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">Straight and Narrow </span><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">for the first time, I asked tony: so tell me what did beverly do on the film? He paused for only the briefest of seconds and said, “She raised ted (their son).” He talked with beverly about the film while she was keeping their life afloat, tending to the apartment, cooking, cleaning, all the maintenance work of social reproduction. Dumb struck by his answer, I said nothing. Tony broke the silence a few minutes later and said “you know, no one has ever asked me that question…”</span></div><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class=""><br class=""></span></div><div style="line-height: 1.656; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">I was amazed -- in 1970, he had understood authorship and collaboration on a whole other level. Beverly Grant Conrad deserved as much credit for conversation, care, ‘women’s work,’ and social reproduction as he did for conceptualizing and filming each frame. Tony had recognized the social and political situation of his own productivity -- that his partner’s labor was the condition of possibility for his “work” and “play.” The film announces that Beverly is the co-author each time it plays. Perhaps Beverly instigated the inclusion. But tony made it clear that he’d thought of it as “their film” from its inception.</span></div><div style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class=""><br class=""></span></div><div style="line-height: 1.656; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class="">Something different than thanks, acknowledgements, or credit -- there is a structural challenge in tony’s conceptualization of his collaboration with beverly which confronts us with a deeply feminist question (or perhaps a feminalist? minimal-feminist?): what are the material, economic, social, cultural, and affective conditions necessary for collaboration and play? How do structural conditions shape and enable artworks that celebrate or involve play and collaboration?</span></div><div style="line-height: 1.656; margin-top: 0pt; margin-bottom: 0pt;" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class=""><br class=""></span></div><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt" class=""><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;" class=""></span></p><div id="gmail-m_8464107156341212268m_1237880320988923210m_-3580869693506590492gmail-m_4621044445296349939gmail-m_7705389483584538336gmail-:2l5" style="font-size:0.875rem;direction:ltr;margin:8px 0px 0px;padding:0px" class=""><div id="gmail-m_8464107156341212268m_1237880320988923210m_-3580869693506590492gmail-m_4621044445296349939gmail-m_7705389483584538336gmail-:2cf" style="overflow:hidden;font-variant-numeric:normal;font-variant-east-asian:normal;font-stretch:normal;font-size:small;line-height:1.5;font-family:Arial,Helvetica,sans-serif" class=""><div dir="ltr" class=""><div style="font-family:verdana,sans-serif" class=""><a href="https://drive.google.com/file/d/0B2h_CrjnYYaORHFNakIxQmZ4Z2wxYi1WcTV1Rko2dGVwYnhR/view?usp=sharing" target="_blank" class="">TC PS Voice Cello.11.15</a></div><div style="font-family:verdana,sans-serif" class=""><br class=""></div><div style="font-family:verdana,sans-serif" class=""><br class=""></div><div style="font-family:verdana,sans-serif" class=""><font face="Verdana, Geneva, sans-serif" size="2" style="" class=""><br class="">Paige Sarlin, Ph.D. (<a href="https://medium.com/gender-inclusivit/why-i-put-pronouns-on-my-email-signature-and-linkedin-profile-and-you-should-too-d3dc942c8743" id="gmail-m_8464107156341212268m_1237880320988923210m_-3580869693506590492gmail-m_4621044445296349939gmail-m_7705389483584538336gmail-NoLP" target="_blank" class="">she/her</a>)</font><span style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 16px;" class=""></span><div style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 16px;" class=""><font face="Verdana, Geneva, sans-serif" size="2" class="">Assistant Professor / </font><span style="font-family:Verdana,Geneva,sans-serif;font-size:small" class="">Department of Media Study / </span><span style="font-family:Verdana,Geneva,sans-serif;font-size:small" class="">University at Buffalo/SUNY</span></div><div style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 16px;" class=""><span style="font-family:verdana,sans-serif;font-size:small;color:rgb(34,34,34)" class=""><a href="mailto:p.sarlin@gmail.com" target="_blank" class="">p.sarlin@gmail.com</a> / </span><span style="font-family:Verdana,Geneva,sans-serif;font-size:small" class=""><a href="http://paigesarlin.info/" target="_blank" class="">paigesarlin.info</a></span></div><div style="font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 16px;" class=""><span style="font-family:Verdana,Geneva,sans-serif;font-size:small" class=""></span></div></div><div style="font-family:verdana,sans-serif" class=""></div></div></div></div></div></div><br class=""><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Tue, Oct 1, 2019 at 4:02 PM Margaret Rhee <<a href="mailto:mrheeloy@gmail.com" target="_blank" class="">mrheeloy@gmail.com</a>> wrote:<br class=""></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">----------empyre- soft-skinned space----------------------<div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div class=""><div class=""><div style="" class=""><font face="times new roman, serif" class="">Dear everyone, </font></div><div style="" class=""><font face="times new roman, serif" class=""><br class=""></font></div><div class=""><font face="times new roman, serif" class=""><font style="color:rgb(33,33,33)" class=""><font class=""><span class="">Thank you Renate for your incredible curation and mentorship with --empyre--, it's such an inspiring community of thinkers, artists, and activists. I loved the discussion on Trans last month, and hope to continue these threads. For this month I'm pleased to share a forum "</span></font></font><font class="">On Practice and Play: Gestures Across Genres." The forum was inspired in part by Tony Conrad's work and practice which spans across film, music, writing, and theory. For this forum, we're honored to have artists, thinkers, and creators who play across media and disciplinary divides and </font> to celebrate innovation in cross-disciplinary art practices<span style="" class="">. For the first week, we begin with a focus on Tony Conrad's work on art/collaboration/and play and we're honored to have artists Paige Sarlin, David Grubbs, and Kathleen McDermott join us for the discussion. Please see below for their biographies and we look forward to hearing more about their </span><span style="" class="">work and insights on collaboration/play/art in Tony's collaborations, their own practices. As always we welcome --empyre--members to contribute and join the </span><font class=""><span class="">conversation. </span></font></font></div><div class=""><font face="times new roman, serif" class=""><span class=""><br class=""></span></font></div><div class=""><font face="times new roman, serif" class=""><span class="">my best, </span></font></div><div class=""><font face="times new roman, serif" class=""><span class=""><br class=""></span></font></div><div class=""><font face="times new roman, serif" class=""><span class="">Margaret </span></font></div><div class=""><font face="times new roman, serif" class=""><span class=""><br class=""></span></font></div><div class=""><font face="times new roman, serif" class=""><span class="">---- </span></font></div><font color="#212121" face="times new roman, serif" class=""><div style="" class=""><br class=""></div><div style="" class=""><b class="">On Practice and Play: Gestures Across Genres </b></div><div style="" class=""><br class=""></div><div style="" class="">In this month's -empyre- forum, we take up the question of productivity and and the politics of play, and how playing across genres, mediums, forms, disciplines, and departments, etc. makes for new kinds of innovative art, thinking, and community; and in doing so, better intervenes and gestures toward transformative futures. The current conspiracy-us versus them- culture perhaps exemplifies the problem of singular thinking and the need for creative, eclectic, and innovative practices more than ever. We’re interested in artists, thinkers, and activists with practices that cross over boundaries and intervene in dichotomous logics. With attention to justice, we explore how multiple forms of art practices prompt us to reimagine different kind of worlds, as strategy and survival. Initially inspired by Tony Conrad's work, as his practice spans across film, music, writing, and sculptures, we playfully ask how play lends itself to more libratory ways of creation and practice. </div><div style="" class=""><br class=""></div><div style="" class="">We begin with the first week on media and new media art in conversation with Tony Conrad's playful work across mediums, we then move into a second week asking questions on poetry and playing across the visual, cinematic, and theoretical, the third week is dedicated to the theme of ethnography across forms such as photography, film, and poetry, and the forth week focuses on the ways artists advocate for decolonial and racial resistance through playing across genres and forms. While seemingly diverse, we hope the loosely organized topics lends itself to connections between the weeks, and across themes presented. With attention to questions such as capital, creativity, institutional critique, and justice, we’re honored to have the following artists and thinkers join us for this conversation and reflect on the possibilities of practice, gestures, and play.</div></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">We also invite our -empyre- subscribers, whose own work broadly resonates with the themes of practice and play, to join the conversation. What are the ways your practice has played or plays across genres? Have you faced institutional challenges in crossing disciplinary divides, and if so, how did you overcome them? Is play and practice productive and/or political? We welcome our guests and all -empyre- subscribers to actively participate and post this month and share your practices and experiences of playing across genres and any questions that arise. Thank you again to our featured guests, and we're honored for their participation. We look forward to the conversation. </font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><b class="">On Practice and Play: Gestures Across Genres </b><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><b class="">Week One: Art/Collaboration and Play </b><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><b class="">Honoring the play of Tony Conrad </b></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">(October 1) <br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><b class="">Paige Sarlin </b></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><div style="margin:0px;padding:0px;border-width:0px" class=""><font size="2" class=""><div style="margin:13px 0px 16px;padding:0px;border-width:0px" class="">Paige Sarlin is an artist, scholar, and political activist. She holds a Ph.D. in Modern Culture and Media from Brown University and an M.F.A. in Film/Video/New Media from the School of the Art Institute of Chicago. Her first feature-length documentary film, <i class="">The Last Slide Projector</i>, premiered at the Rotterdam International Film Festival in 2007. "Illuminating Obsolescence: Eastman Kodak's Carousel Slide Projector and the Work of Ending," her corresponding essay, was recently published in <i class="">The Routledge</i><i class=""> Companion to Media Technology and Obsolescenc</i>e (2019). From 1999 to 2010, she was an active participant in the 16Beaver Group in New York City, a platform for the discussion of the intersection of art and politics. Her writings have been published in <i class="">October, Re-Thinking Marxism, </i><i class="">Discourse</i><i class="">, </i><i class="">Camera Obscura, </i><i class="">The Journal of Aesthetics and Protest, </i>and<i class=""> Framework: A Journal of Film and Culture</i>. She is in the process of finishing her book-length manuscript entitled <i class="">Interview</i><i class=""> </i><i class="">Work: The Genealogy of a </i><i class="">Documentary</i><i class=""> Form</i>. She is Assistant Professor in the Department of Media Study at University at Buffalo, SUNY.<br class=""></div></font></div><div style="margin-top:0px;margin-bottom:0px" class=""><font size="2" class="">Married to Tony Conrad at the time of his death, Paige was involved in the conceptualization and realization of the recent exhibition <i class="">Introducing Tony Conrad: A Retrospective</i>. Her essay "In Person, On Screen, In Context, On Tape," appears in the <a href="https://www.artbook.com/9783960983361.html" target="_blank" class="">catalogue</a>. Tony and Paige's collaborative composition "Tony Conrad's Amplified Drone Strings" premiered at the Big Ears festival in 2016. Since then she has performed the piece with David Grubbs, MV Carbon, Jennifer Walshe, and others at the Tate Modern in London, The National Gallery in Washington DC, and the Clemente Soto Vélez Cultural and Educational Center in New York. Her next book project is a collection of essays about Tony Conrad; entitled <i class="">You Know Who You Are</i>, the book is structured around an investigation of "the acknowledgement" as an aesthetic form.</font></div><div class=""><br class=""></div></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><b class="">David Grubbs </b><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><div style="margin-top:0px;margin-bottom:0px" class="">David Grubbs is Professor of Music at Brooklyn College and The Graduate Center, CUNY. At Brooklyn College he also teaches in the MFA programs in Performance and Interactive Media Arts (PIMA) and Creative Writing. He is the author of <i class="">Now that the audience is assembled</i><i class=""> </i>and <i class="">Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording</i><i class=""> </i>(both Duke University Press) and, with Anthony McCall, <i class="">Simultaneous Soloists</i><i class=""> </i>(Pioneer Works Press). In the spring of 2020, Duke University Press will publish <i class="">The Voice in the Headphones</i>, Grubbs’s second experiment in music writing in the form of a book-length poem. </div><div style="margin-top:0px;margin-bottom:0px" class=""> </div><div style="margin-top:0px;margin-bottom:0px" class="">Grubbs has released fourteen solo albums and appeared on more than 190 releases; his most recent solo recording is <i class="">Creep Mission</i>(Blue Chopsticks, 2017). In 2000, his <i class="">The Spectrum Between</i>(Drag City) was named “Album of the Year” in the London <i class="">Sunday Times</i>. He is known for his ongoing cross-disciplinary collaborations with poet Susan Howe and visual artists Anthony McCall and Angela Bulloch, and his work has been presented at, among other venues, the Solomon R. Guggenheim Museum, MoMA, the Tate Modern, and the Centre Pompidou. Grubbs was a member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and has performed with Tony Conrad, Pauline Oliveros, the Red Krayola, Will Oldham, Loren Connors, and many others. He is a grant recipient from the Foundation for Contemporary Arts, a contributing editor in music for <i class="">BOMB</i><i class="">Magazine</i>, a member of the Blank Forms board of directors, and director of the Blue Chopsticks record label. <br class=""></div><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><b class="">Kathleen McDermott </b><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><div style="margin-top:0px;margin-bottom:0px" class=""><font size="2" class="">McDermott’s work utilizes a combination of sculpture, open-source electronics, performance and video, to explore the social ramifications of the relationship between bodies and technology; an artistic research method she refers to as </font><font size="2" class=""><i class="">absurdist electronics</i></font><font size="2" class="">. Absurdist electronics promotes the use of absurdity as a counter to both the solutionist utopia promised by tech companies, and the atmosphere of doom often prophesied within science fiction. Drawing on the Dada principle that absurdity can be an appropriate response to feelings of alienation, McDermott seeks to solve her own specific struggles with socialization and work, through humor and over-engineering. </font></div><br class=""><div style="margin-top:0px;margin-bottom:0px" class=""><font size="2" class="">In contrast to narratives of the future that are disproportionately focused on virtual bodies and bodies represented by data, McDermott’s inventions emphasize real-time physicality by deliberately intervening in physical space, to a ridiculous degree. She often creates electronics which can respond to sensors and environmental input, but that cannot be controlled by the wearer directly, complicating the agency of the human actors in the scene. Examples include a dress which creates a cloud of fog based on a reading of the wearer’s stress level, and a mechanical brooch that opens to reveal a cinnamon bun when the wearer begins to sweat. The items are worn publicly, either by McDermott or a proxy, and the documentation is edited into narrative videos and GIFs, taking cues from infomercials and advertisements. She then produces tutorials for technically recreating the works in the series, which she distributes online and through workshops.</font></div><div style="margin-top:0px;margin-bottom:0px" class=""><font size="2" class=""><br class=""></font></div><div style="margin-top:0px;margin-bottom:0px" class=""><a href="http://www.kthartic.com/" target="_blank" class=""><font size="2" color="#1155CC" class="">http://www.kthartic.com/</font></a><font size="2" class=""><br class=""></font></div><div style="margin-top:0px;margin-bottom:0px" class=""><a href="https://urbanarmor.org/" target="_blank" class=""><font color="#1155CC" class="">https://urbanarmor.org/</font></a> <br class=""></div></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><b class="">Week Two: Poetics and Play </b></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">(October 8) <br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">Truong Tran <br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">Lynne Sachs <br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">Kenji Liu <br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><b class="">Week Three: Queer Ethnography/Methods and Play </b></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">(October 15) <br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">Kale B. Fajardo <br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">Erica Rand <br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">Jerry Zee <br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><b class="">Week Four: Racial and Decolonial Practice and Play </b></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">(October 22) <br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class=""><br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">Craig Santos Perez <br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">Maria de Los Angeles <br class=""></font></div><div style="" class=""><font size="2" color="#212121" face="times new roman, serif" class="">Gabriela Cordoba Vivas </font></div></div></div></div></div></div></div><font face="times new roman, serif" class=""><br class=""></font><div class="gmail_quote"><div dir="ltr" class="gmail_attr"><font face="times new roman, serif" class="">On Mon, Sep 30, 2019 at 10:51 PM Renate Ferro <<a href="mailto:rferro@cornell.edu" target="_blank" class="">rferro@cornell.edu</a>> wrote:<br class=""></font></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><font face="times new roman, serif" class="">----------empyre- soft-skinned space----------------------<br class="">
Dear -empyre- <br class="">
Welcome to October already. The leaves are falling here in Ithaca and the furnace is on. I am feeling the impending darkness of autumn creeping into my afternoon activities. I can only imagine the light where so many of you are. <br class="">
<br class="">
We welcome a month of discussion on Practice and Play: Gestures Across Genres organized by Margaret Rhee to celebrate innovation in cross-disciplinary art making. Many of you will remember Margaret's discussion on Robot Poetics in May of 2017<br class="">
<a href="http://lists.cofa.unsw.edu.au/pipermail/empyre/2017-May/009683.html" rel="noreferrer" target="_blank" class="">http://lists.cofa.unsw.edu.au/pipermail/empyre/2017-May/009683.html</a><br class="">
<br class="">
Margaret is an incredible poet, writer and artist. We are so lucky to have her on our -empyre- Editorial Advisory Board. She brings warmth to us from Buffalo, New York this month with her diverse set of guests. <br class="">
Her biography is below. Margaret will post the first post of the month tomorrow. <br class="">
<br class="">
Welcome Margaret and thank you. We look forward. <br class="">
Renate<br class="">
<br class="">
Margaret Rhee is a poet, scholar, and new media artist. She is the author of Love, Robot, named a 2017 Best Book of Poetry by Entropy Magazine and awarded a 2018 Elgin Award by the Science Fiction Poetry Association and the 2019 Best Book Award in Poetry by the Asian American Studies Association. Her poetry chapbooks include Yellow and Radio Heart; or, How Robots Fall Out of Love, and forthcoming collection Poetry Machines: A Letter to a Future Reader, a collection of lyrical essays on poetry, and the intersections of cinema, art, and new media. Currently, she is completing her monograph How We Became Human: Race, Robots, and the Asian American Body. She was a College Fellow in Digital Practice in the English Department at Harvard University and a member of MetaLab @ Harvard. She received her Ph.D. from UC Berkeley in ethnic studies with a designated emphasis in new media studies. She is an Assistant Professor in the Department of Media Study at SUNY Buffalo and co-leads Palah 파랗 Light Studios, a creative space for poetry, participation, and pedagogy through technology.<br class="">
<br class="">
<br class="">
<br class="">
<br class="">
Renate Ferro<br class="">
Visiting Associate Professor<br class="">
Director of Undergraduate Studies<br class="">
Department of Art<br class="">
Tjaden Hall 306<br class="">
<a href="mailto:rferro@cornell.edu" target="_blank" class="">rferro@cornell.edu</a><br class="">
<br class="">
<br class="">
<br class="">
_______________________________________________<br class="">
empyre forum<br class="">
<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank" class="">empyre@lists.artdesign.unsw.edu.au</a><br class="">
<a href="http://empyre.library.cornell.edu/" rel="noreferrer" target="_blank" class="">http://empyre.library.cornell.edu</a></font></blockquote></div><font face="times new roman, serif" class=""><br clear="all" class=""></font><div class=""><font face="times new roman, serif" class=""><br class=""></font></div><font face="times new roman, serif" class="">-- <br class=""></font><div dir="ltr" class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><font face="times new roman, serif" class=""><br class=""></font></div><div dir="ltr" class=""><font face="times new roman, serif" class=""><br class=""></font></div><div dir="ltr" class=""><font face="times new roman, serif" class=""><br class=""></font></div><div dir="ltr" class=""><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="times new roman, serif" class="">Margaret Rhee, Ph.D. </font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="times new roman, serif" class=""><br class=""></font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="times new roman, serif" class="">College Fellow in Digital Practice (2018 - 2019) </font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="times new roman, serif" class="">Department of English </font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="times new roman, serif" class="">Harvard University </font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="times new roman, serif" class=""><br class=""></font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="times new roman, serif" class="">Assistant Professor in Media Theory (2019) </font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="times new roman, serif" class="">Department of Media Study </font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="times new roman, serif" class="">SUNY Buffalo </font></div></div></div></div></div></div></div></div></div></div></div></div>
_______________________________________________<br class="">
empyre forum<br class="">
<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank" class="">empyre@lists.artdesign.unsw.edu.au</a><br class="">
<a href="http://empyre.library.cornell.edu/" rel="noreferrer" target="_blank" class="">http://empyre.library.cornell.edu</a></blockquote></div></div>
_______________________________________________<br class="">
empyre forum<br class="">
<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank" class="">empyre@lists.artdesign.unsw.edu.au</a><br class="">
<a href="http://empyre.library.cornell.edu/" rel="noreferrer" target="_blank" class="">http://empyre.library.cornell.edu</a></blockquote></div><br clear="all" class=""><div class=""><br class=""></div></div><div dir="ltr" class="">-- <br class=""><div dir="ltr" class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div style="font-family: Helvetica; font-size: 12px;" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><div style="overflow-wrap: break-word;" class=""><span class="">David Grubbs</span><br class=""></div></div></span></div></span></div></span></div></span></span></div></span></span></span></div></span></span></div></span></div></span></div></span></div></span></div></span></div></span></span></span></div></span></div></div><div style="font-family: Helvetica; font-size: 12px;" class=""><div class=""><div class=""><div dir="ltr" style="color:rgb(34,34,34);font-family:Arial,Helvetica,sans-serif" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div style="font-family: Helvetica;" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><span style="border-collapse:separate;border-spacing:0px" class=""><div style="overflow-wrap: break-word;" class=""><div style="overflow-wrap: break-word;" class="">Professor of Music</div><div style="overflow-wrap: break-word;" class="">Performance and Interactive Media Arts (PIMA)</div></div></span></div></span></div></span></div></span></span></div></span></span></span></div></span></span></div></span></div></span></div></span></div></span></div></span></div></span></span></span></div></span></div></div><div style="font-family: Helvetica;" class="">Brooklyn College and the Graduate Center, CUNY</div><div style="font-family: Helvetica;" class=""><a href="http://pima-brooklyncollege.info/" style="color:rgb(17,85,204)" target="_blank" class="">http://pima-brooklyncollege.info</a></div><div style="font-family: Helvetica;" class=""><br class=""></div><div style="font-family: Helvetica;" class=""><div class="">Coming in October:</div><div class="">Anthony McCall & David Grubbs, <i class="">Simultaneous Soloists</i> (Pioneer Works Press)</div><div class=""><a href="https://pioneerworks.org/publishing/simultaneous-soloists/" target="_blank" class="">https://pioneerworks.org/publishing/simultaneous-soloists/</a><br class=""></div><div class="">The Underflow, <i class="">The Underflow </i>(Corbett vs. Dempsey)</div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><div style="font-family: Helvetica; font-size: 12px;" class=""><br class=""></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>
_______________________________________________<br class="">
empyre forum<br class="">
<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank" class="">empyre@lists.artdesign.unsw.edu.au</a><br class="">
<a href="http://empyre.library.cornell.edu/" rel="noreferrer" target="_blank" class="">http://empyre.library.cornell.edu</a></blockquote></div></div>-- <br class=""><div dir="ltr" class=""><div dir="ltr" class=""><div class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><div dir="ltr" class=""><br class=""></div><div dir="ltr" class=""><br class=""></div><div dir="ltr" class=""><br class=""></div><div dir="ltr" class=""><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="garamond, serif" class="">Margaret Rhee, Ph.D. </font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="garamond, serif" class=""><br class=""></font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="garamond, serif" class="">College Fellow in Digital Practice (2018 - 2019) </font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="garamond, serif" class="">Department of English </font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="garamond, serif" class="">Harvard University </font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="garamond, serif" class=""><br class=""></font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="garamond, serif" class="">Assistant Professor in Media Theory (2019) </font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="garamond, serif" class="">Department of Media Study </font></div><div style="margin-top: 0px; margin-bottom: 0px;" class=""><font face="garamond, serif" class="">SUNY Buffalo </font></div></div></div></div></div></div></div></div></div></div></div>
_______________________________________________<br class="">
empyre forum<br class="">
<a href="mailto:empyre@lists.artdesign.unsw.edu.au" target="_blank" class="">empyre@lists.artdesign.unsw.edu.au</a><br class="">
<a href="http://empyre.library.cornell.edu/" rel="noreferrer" target="_blank" class="">http://empyre.library.cornell.edu</a></blockquote></div></div>
_______________________________________________<br class="">empyre forum<br class=""><a href="mailto:empyre@lists.artdesign.unsw.edu.au" class="">empyre@lists.artdesign.unsw.edu.au</a><br class="">http://empyre.library.cornell.edu</div></blockquote></div><br class=""></body></html>