Doug Eacho

I attended a semi-private screening of NAZA here in SG last night. Because of legal concerns we were forbidden from wearing any pro-Palestine attire and were asked not to clap or verbally react to the film. It ended just with silence and sobbing. One of the most somber experiences of my life.

shared my work on midcentury cybernetic theories of theatre and contemporary "liveness debates" at National Taiwan University yesterday. one of the most rigorous and dedicated panels i've ever been on. my thanks to Profs. Hsiao-Mei Hsieh and Katherine Chou for their hard questions.

sorry for the over-generalizing binary but, i have encountered a certain comfort with crticism & sense of shared intellectual enterprise in both Singapore and Taiwan which i find refreshing against the self-branding exercises of US conferences.

I'll be presenting my work on 60s cybernetician Gordon Pask's theatre experiments, and how they relate to current conceptualizations of performance on the internet, this Sunday at the NTU intl theatre conference in Taipei. please share any and all taipei food recommendations... 🇹🇼🇹🇼🇹🇼

Anne Carson, "Short Talk on Herbology," 2013

part of what'a great about anne carson is that she knows being an intellectual in the 21st century means you are a freak. and probably lonely. but what can you do (i love "rebar dawn")

I am really not sure what is going on with georgica pettus. none of what is described here sounds different from what you would see at playwright's horizons. another case of realist(-ish) drama as the mode in which american conservatives must appear? www.artforum.com/columns/aria...

what is going on with this list of inspirations?? these are all wildly different writers! this feels like the ultimate stage of postmodern genre collapse; any sense of a divide between the formally experimental (Maxwell) and the presentationally naive (Arbery) has dissolved.

I am really not sure what is going on with georgica pettus. none of what is described here sounds different from what you would see at playwright's horizons. another case of realist(-ish) drama as the mode in which american conservatives must appear? www.artforum.com/columns/aria...

i gave my NUS job talk - at 4pm, on a 12hr jet lag - gesturing at all my slides and audience with a large iced coffee

kusama is a difficult figure to place in performance history, but terribly important to it. like ono and kawara she introduced the ideas of the japanese avant-garde(s) to those of nyc; though not of gutai she at times shared that group's interest in doing painting and performance at once. (1/10)

what's interesting about her work is the extent to which that vapidity was always our vapidity; she knew how to use performance to draw that out of herself, out of arts institutions, out of commercial journalism, and to put it on view.

kusama is a difficult figure to place in performance history, but terribly important to it. like ono and kawara she introduced the ideas of the japanese avant-garde(s) to those of nyc; though not of gutai she at times shared that group's interest in doing painting and performance at once. (1/10)

so kusama's later turn into the perfect art-world celebrity, the most $$$ woman artist, the backdrop of the instagrammification of museums, was all present at the beginning; she just needed the stability of her institutionalization and the 21C shifts in the art market to realize them.

kusama is a difficult figure to place in performance history, but terribly important to it. like ono and kawara she introduced the ideas of the japanese avant-garde(s) to those of nyc; though not of gutai she at times shared that group's interest in doing painting and performance at once. (1/10)

she's always there, in those press photos, but often looking like she perhaps might not want to be there, but she is obliged to be -- and so she frames that obligation into the work with high ambiguity, like so many artists of colour after her.

kusama is a difficult figure to place in performance history, but terribly important to it. like ono and kawara she introduced the ideas of the japanese avant-garde(s) to those of nyc; though not of gutai she at times shared that group's interest in doing painting and performance at once. (1/10)

her work winks at these contradictions. most obviously, the work is erotic and anti-erotic, neutralizing the object of fear; this is just as true of the nude performances as the sculptures. ditto her mirrors; self-image erasing the self.

kusama is a difficult figure to place in performance history, but terribly important to it. like ono and kawara she introduced the ideas of the japanese avant-garde(s) to those of nyc; though not of gutai she at times shared that group's interest in doing painting and performance at once. (1/10)