“Falling Into Place,” by Gretchen Schiller

Friday, 28 June 2013
12:00 pm
Roble 33

Blog Response by Rebecca Chaleff

Photo by Jamie Lyons9209914477_23ee68699f_o

For the past few days, Roble 33 has been a mystery to me.  I heard whispers about it: those who had volunteered to set it up expressed incredible curiosity, and those called upon to photograph the space exclaimed, “I don’t know what she’s doing in there, but it’s beautiful.”  I got several text messages telling me that I absolutey had to see it.  My interest was engaged, to say the least.  I tried desperately to find an appointment—the books were full, and only one spot remained.  I nearly sacrificed a friendship ensuring that I was the one to take this appointment.  I was lucky (and yes, we’re still friends).

I returned the next day to check in at the front desk of Roble, disguised from its usual function by a lace tablecloth and stacks of archaic-looking books and scrolls tied with ribbon.  I was checked-in, led down the hall to Roble 33, and told to stand in the threshold until instructed to do otherwise—until the “librarian” came to fetch me.  All I could see was absence.  Thick curtains sucked space and time out of the room.  I felt as though I were standing in a vacuum, a black hole in the middle of the Stanford campus.

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“Stitches In and Out of Time: Closing and Opening Queer Sites of Trauma” by Allen Conkle, Julie Cosenza, Amy Kilgard, Alexis Litzky, Thao P. Nguyen, Miranda Olzman (San Francisco State University)

Thursday, 27 June 2013
10:00 pm
Clubhouse Ballroom

Blog Response by David Preciado, Doctoral Student, Department of Ethnic Studies, University of California, Berkeley

The performance sought to explore “the intersections of queer temporalities and trauma” to critique neoliberal and colonial epistemologies of time and memory.

The performance consisted of five “presumed” women dressed in all black, each woman wore a piece of american-flag ribbon around their body, fresnel lanterns illuminated the stage, and audio was used to sensate scenes from broadway’s Hairspray song, “Timeless”, to dramatic death-tone beeps that made the space silent and serious. Technological mediums were kept to a minimum though, as storytelling was majority told through the bodies of the performers.

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“John Cage’s Lecture on Nothing,” (re)performed by Michael Hunter and Derek Phillips

Thursday, 27 June 13
10:00 pm
Roble Studio 52

Blog Response by Rebecca Chaleff

Photo by Jamie Lyons9209879003_9e75a04662_o

In the center of Roble Studio 52 are four stools.  One of these stools is for sitting, and the other three support the few lamps that provide the only lighting sources in the room (this smart and minimal set design, it should be noted, was advised by Angrette McClosky).  Perched atop the central and tallest stool is Michael Hunter, calmly reading John Cage’s “Lecture on Nothing.”  His face, lit by the surrounding lamps, is illuminated as though he were reading a ghost story.  We, the audience, are gathered around this campfire setting on an inconsistent array of floor mats, couches, and chairs, all curving around the central figure.

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“100 Performances for the Hole (Redux); a mini-marathon of artistic moments” by Justin Hoover (et al)

Thursday, 27 June 2013
7:30-9:30 PM
Building 550 Atrium

Blog Response by Dr. W.C. Meier

PORT_130627_1230148(photo by Annabelle Port)

25 two-minute performances back-to-back. Staring into the space, an atrium, there is, to the left, a mic –which SOMArts Curator/MC Justin Hoover uses to intro and out-tro performers. Next to him, a monitor is turned to face the audience and performers with a digital clock, counting down from 4 minutes each time, including set-up, performance and teardown.

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Performing the PSi Conference: A Processural Twitter Archive, Post 1

This blog is a catalog of responses to events. These responses occur in various temporalities, in different rhythms, and in different media. The psi19performance blog attempts to collapse the distances, distinctions, and differences between these times, patterns, and forms as well as those between the “liveness” and the documentation of the conference, between the academic, praxis, and performance valences of the conference, and between this blog’s own nature as archive and its serial eventhood, marked by its insistent up-to-datedness.

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Between 26 June – 30 June, 2013, the PSi 19 Conference will convene in Stanford, California. In total, the Conference will feature over 100 unique performances, installations, and praxis sessions. Each of these events will, by definition, occur at an isolated time and space within the wider conference; each will be attended by a small fraction of conference attendees. Now, then, how will these performances remain?

The PSi 19 Performance Blog provides space for conference attendees to recount their encounters with performances. The Blog seeks to produce a democratic, polyvocal, multiperspectival archive of the various performances unfolding throughout the conference. It is a living archive: a processural, collaborative collection of writings intended to carry the liveness of the Conference’s events into the future. Now, then, let’s begin.