“Chronopolitics with Dogs and Trees in Stanford” by Tuija Kokkonen and Alan Read

Thursday, 27 June 2013
7:30 pm – 7:30 am
Roble Studio 42
Blog Response by Tuija Kokkonen

Chronopolitics with Dogs and Trees in Stanford was, on one level, an invitation to perform for a non-human. Performances for non-humans are not missed or needed by them, but can act as a place of hospitality and of impossible, yet attainable proximity emerging on the different boundaries between species and co-beings.

When a dog responds to your reading of Investigations of a Dog to it, or when an oak or an herb plant receives the “Treebeard” chapter from the Lord of the Rings or Plant Fear being read to it, what happens in that moment? What happens to humans when the witness and the respondent of the event is something other than a human being? Following Derrida’s (2008) questions: Who witnesses to what and for whom? Who proves, who looks, who observers whom and what? What is there for knowledge, of certainty, of truth, of love?

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“Power Struggle” by Olga Kisseleva, with Jean-Marie Apostolidès, Mélanie Perrier, Mandeep Gill, and Julien Toulze


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.

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Guillermo Gómez-Peña’s “Strange Democracy: Border Wars”

Friday, 28 June, 2013
Pigott Theater

Blog Response by David Preciado

(See also Megan Hoetger’s Blog Response here.)

Photo by Jamie Lyons


“Radical discrimination!” yelled the woman, who resembled an Aztec warrior in an eagle headdress, fishnets, steel underwear and holding a sword. The woman came out of the theater around 7:30pm and addressed the crowd who anxiously waited for the performance outside by the stairs, much like a master of ceremonies. “Radical discrimination!” she kept yelling. The woman had power and did not hesitate reconfiguring the rules of theater. She prompted people without tickets to enter the theater first and suggested that those with tickets “fight” for their seats. “Radical discrimination” she called it, and those with tickets, those who spent money to view the performance were not guaranteed a space within the theater and those who did not purchase a ticket, either because of financial constraints or because the show sold out or because they left it to the last minute or some other reason, were granted access first.

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“Exchange” by Raegan Truax

Saturday, 29 June 2013
Time(s) Observed: 10:20 am – 11:30 am
(durational performance from 8:30 am – 6:44 pm)
Department of Art and Art History Lobby

Blog Response by Rebecca Ormiston

Photo by Jamie Lyons

You took a risk and decided to breathe with me, and so I feel that I must write to you.

Do not consider this as an open letter to the artist. Instead, I urge you to read this as my fumble for words after our exchange.

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“The Stone, Our Sundial” by Rebecca Chaleff and Rebecca Ormiston

Saturday, 29 June 2013
6:30 – 8:30 pm
Old Union Courtyard

Blog response by Bryan Schmidt

Photos by Jamie Lyons

Chaleff and Ormiston’s piece relied on, revealed, and reveled in the tensions between multiple temporal registers: the cosmic tempo of the setting sun as it moved across the Old Union courtyard, the standardized, linear time tracked precisely by the intermittent ringing of a nearby bell tower, unique bodily rhythms that became apparent in extended physical gestures and the performers’ increasing exhaustion as they repeatedly enacted them. Described, in part, as an investigation into the “dislocation from the outside world” that academics experience through their unusual work schedules (crystallized in feeling alienated from the cycle of dawn and dusk), the two-hour, intricately choreographed performance highlighted the friction between desire and discipline, nature and institution, public and private.

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“Shuttle” by Mick Douglas, Beth Weinstein, and James Oliver

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.

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“Pastoral/Posthuman Sunrise Hike” by Joy Brooke Fairfield, Elizabeth Hersh, and Joe Moore

Friday, 28 June 2013
5:30 am – 8:00 am
Stanford Dish (Outside Roble Gym; on the shuttle bus; Stanford Dish; on the shuttle bus; outside Roble Gym)

Blog Response by Michelle Lindenblatt

Do Androids Dream of Electric Sheep?

I sit here on the patio of our hotel room, the baby sleeping soundly in the bedroom, and I begin to travel through time, backwards, to yesterday morning. Will I remember it properly? Sleep deprivation makes everything seem hazy, like a dream. Perhaps I was dreaming. It was 5:30 in the morning.

I am in the taxi at 5:15. It is still dark outside, but the sun quietly peeks out in the crevice at the horizon. The taxi driver careens wildly along El Camino Real even though there is no traffic to speak of, telling me he has already been to San Francisco and back that morning. Perhaps he is dreaming, too. I give him an extra $5 as he drops me off outside of Roble Gym.

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“Strange Democracy: Border Wars” by Guillermo Gómez-Peña

Friday, 28 June 2013
7:30 – 9:30 pm
Pigott Theater

Blog Response by Megan Hoetger

(See also David Preciado’s Blog Response here.)

I had resigned myself to the fact that I would not see Guillermo Gómez-Peña’s performance Strange Democracy: Border Wars; it was sold out when I registered for the conference and I thought to myself, “who is going to be a no show for Gómez-Peña?” Friday came though, and a friend of mine convinced me to put my name on the wait-list where, it turned out, I was number one and the front of house assured me that I would most likely get in. At ten minutes to 7:30 pm I was buzzing around the ticket table, anxiously waiting for them to begin calling out wait-list numbers.

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