26 June – 13 September 2013
Blog post by Kellen Hoxworth
June 27, 2013
10 pm – approximately 11 pm
Building 550, Atrium
Blog Response and Photo by Tanya Augsburg
Have you ever tried to install two or more different antivirus software programs into the same computer? If so, you probably found out the hard way that many are incompatible. Have you ever wondered why? Since the threats of destroyed and stolen data are so pervasive, it would seem that there would be a great demand for antiviruses to work cooperatively—or at the very least, to not conflict with one other.
Using the online platform, Storify, we have attempted to document as much of the Twitter feed as possible. However, limitations have led to several unintentional omissions of material, producing gaps and lacunae. Simultaneously, though, the Twitter Archive captured various strands and threads of live discourse, most notably in the form of “re-tweets.” However, Storify has a maximum limit to how many items may be included in any single “story.” Therefore, in order to produced a “complete” archive of Twitter activity during the conference, we have omitted re-tweets to try to collect as much original material from the Twitter feed as possible. The final, “complete” Twitter archive can be found here.
Thursday, 27 June 2013
7:30 pm – 7:30 am
Roble Studio 42
For your viewing pleasure.
Video excerpt from Chronopolitics with Dogs and Trees in Stanford by Tuija Kokkonen and Alan Read. Video posted by BornRosca.
Thursday, 27 June through Sunday 30 June 2013
Ongoing: Time Observed (i.e. 6 – 9 pm; noon – 12:15 pm; Wednesday-Friday, intermittently; etc.)
Toyon Courtyard/Old Union Courtyard
Blog Response by Yasmine Jahanmir
I was naïve to think a performance entitled Shuttle would be performed in a static location. It now seems like common sense that a mobile performance piece would be in motion.
I wandered into Toyon Courtyard at about 7:20am looking for the performance and found nothing. I circled the building just in case there was a second courtyard and again found nothing. I double-checked the conference itinerary and I was indeed in the advertised location, so I gave up, got coffee, and went to a panel. As I was leaving the panel, I passed the Old Union courtyard and came upon a tent and stacked wooden boxes in the grass; one of the boxes was labeled “shuttle.” Turns out they had decided to move and had left a note which I did not see. Seizing the opportunity to be mobile with my review rather than canceling it, I asked about the performance I had missed and was immediately invited into navigating the remnants of the performance.
Wednesday, 26 June 2013 through Sunday, 30 June 2013
PSi 19 at Stanford
Blog Response by Kellen Hoxworth
In addition to the various multi-media archives of the conference — including this one, the “PSi19 at Stanford” Facebook page, and the Twitter Archive — a durational, collaborative performance has taken place through the direction of spatula and barcode. Their piece, “Record of the Time,” offers a polyvocal series of temporal “snapshots” generated through random voluntary participation from conference-goers. Each registered attendee was offered a random time (mine was 0800) on a random date. Attendees were encouraged to share their thoughts, moments, activities, encounters, etc., from their assigned time with the knowledge that their text would be posted anonymously. Each post thus presents a slice of time in one individual’s experience of the conference as a whole. However, these slices, laid next to one another in a chronological progression chart an affective progression from anxiety towards exhaustion.
Friday, 28 June 2013
Blog Response by Rebecca Chaleff
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.
Thursday, 27 June 2013
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.
Thursday, 27 June 13
Roble Studio 52
Blog Response by Rebecca Chaleff
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.