Reprogramming the Stage: A Heuristic for Posthuman Performance

Masking Cuts: A Performative Entanglement

“…Engaging a diffractive methodology, the cutting of my fascia-mask in performance provides an epistemological opening in ongoing sense making of COVID lived experience, a ontological and ironical reckoning of the three dimensional body flatten into pics, and the coauthorship that perhaps breaths life back into the body on papered stage. Craig Gingrich-Philbrook and Jake Simmons (2015) posit in “Reprogramming the Stage: A Heuristic for Posthuman Performance” the meaning making potential of performance and posthumanist diffraction in their analysis of Gingrich-Philbrook’s solo performance using screens and an overhead projector:In manifesting life, this performance manifested Gingrich-Philbrook’s networked relation with that overhead—not to mention with all of the other nested screens mentioned…highlight[ing] how Gingrich-Philbrook’s relationship with the overhead revealed his posthuman becoming as more an intertextually and technologically dispersed phenomenon than the sole property of an autonomous subject (Gingrich-Philbrook & Simmons, 2015, p. 339).…”

“…In manifesting life, this performance manifested Gingrich-Philbrook’s networked relation with that overhead—not to mention with all of the other nested screens mentioned…highlight[ing] how Gingrich-Philbrook’s relationship with the overhead revealed his posthuman becoming as more an intertextually and technologically dispersed phenomenon than the sole property of an autonomous subject (Gingrich-Philbrook & Simmons, 2015, p. 339).…”

‘I don’t know why she swallowed the fly’: On Dubious Cures and Drastic Measures in Post (?) Pandemic Times (An Introduction to the Special Issue)

“… 4. Tami Spry’s performance is a follow-up to her performance at ICQI 2022, which is documented in the photographic essay (Spry, 2023). In the essay, she cites: Gingrich-Philbrook and Simmons (2015). …”