I’m excited to have “Pedagogy” included in Present Tense Pamphlets, edited by Danny Snelson and Mashinka Firunts for the Block Museum at Northwestern University.



Present Tense Pamphlets is a hybrid digital and print publishing platform for score-based works, edited by Mashinka Firunts and Danny Snelson. In the tradition of Charlotte Moorman’s Avant-Garde Festivals, Dick Higgins’ Great Bear Pamphlets, and La Monte Young’s An Anthology of Chance Operations, the Present Tense Pamphlets feature an expanded array of score-based practices, including but not limited to:

  • Scores for live, imagined, or impossible music
  • Notations for lecture-performances or pedagogical scripts
  • Diagrams for dance, movement, and stillness-based works
  • Abandoned concepts or realized abstracts
  • Seeds of narratives and novels rendered as graphs
  • Computational scripts for executables, viruses, or humans

Chance Poster_sm

Tuesday, December 8 at 7:30 PM

In 1996 at Whiskey Pete’s Hotel & Casino, Chris Kraus organized the Chance Event: “a three-day philosophy rave in the Nevada desert.” It was a convergence of the art world with philosophers, poets, and musicians in what was meant to be the Burning Man of French theory. The Gallery at REDCAT hosts a discussion with Kraus, Sylvère Lotringer, and artist Becket Flannery (who is writing a book on the Chance Event) on the occasion of Semiotext(e)’s publication of Jean Baudrillard’s lecture for Chance.

Opening tonight at Full Haus, 6pm to 10pm!


2042 Griffith Park Blvd

Los Angeles CA 90039


Becket Flannery

I I i

November 12, 2015 – January 17, 2016

There’s a photograph in the New York Times of a jubilant crowd holding up a beefy guy wearing a Captain America costume, his round shield swung high in the air. His sweeping gesture mirrors the pose of the Discobolus statue; his pedestal, in that case, would be the shoulders of the mob hosting him up. Before the more-oft-quoted parts of Sculpture in the Expanded Field, Krauss characterizes pedestals as “an important part of the structure since they mediate between actual site and representational sign.”

The crowd-qua-pedestal had gathered to celebrate the killing of Osama bin Laden, a spontaneous reaction to the announcement of his death. They came to dance on Bin Laden’s grave, literally on top of the mass grave of the World Trade Center: for the fanboy in the photograph, it’s the cosplay opportunity of the decade.

Animations are probably more famous than flesh and blood stars, if you factor in the international audience, and, of course, are far more adaptable – they speak every language, never age or exhaust, and never act out, breakdown, misbehave. But cosplay is like reality’s revenge; imagine the scandal when Batman is caught in flagrante delicto with a Minion in the convention hall bathroom.


For more information and images, please contact gallery@fullhaus.biz