INSTRUCTIONS FOR LISTENING TO RADIO Alexis Bhagat In this “event score,” the reader performs the work by following instructions 1–15. The work is liberated, activated, and realized through this gesture. Those who wish to share their completed instructions are invited to send their document to Alexis Bhagat, 39 Avenue A #103, New York, New York 10009. l D o w n o a d e d

TOWARDS A PROGRAMMABLE TRANSMISSION ARTS PLATFORM Brett Ian Balogh The device illustrated is a programmable low-power FM transmitter platform designed for ease-of-use and flexibility in the hands of artists wishing to incorporate transmission into their practices. The prototype requires a computer with a USB port and an audio line out. Connect the transmitter to the computer, start the keypad tuner application, and you’re on the

DEEP CYCLE: THE REINCARNATION OF HERMAN MEYDAG Max Goldfarb l D o w n o a d e d f r o m h t t p : / / direct . m i t . e d u p a / j j / l a r t i c e – p d f / / 3 1

TRANSMISSION ARTS l D o w n o a d e d f r o m h t t p : / / direct . m i t . e d u p a / j j / l a r t i c e – p d f / / 3 1 3 ( 9 3 ) / 3

LIVING AND WORKING IN ATHENS Ioannis Savvidis, Laertis Vassiliou, Maria-Thalia Carras, and Sophia Tournikiotis in conversation with Marina Kotzamani Four young professionals in the arts living and working in Athens are the focus of this conversation. Ioannis Savvidis is a visual artist particularly interested in space, who mainly works with video, installation, and architectural design. He is based in Athens and Berlin. His recent work

THE SYMBOLIST LEGACY Daniel Gerould For us everything has become cramped, stifling, unbearable. We are weary of conventional forms of society, conventional forms of morality, the very means of perception, everything that comes from outside. It is becoming clearer and clearer that if what we see is all that there is in the world, then there is nothing worth living for. We embrace all religions,

PERFORMANCE AND THE SPIRITUAL LIFE Meredith Monk in conversation with Bonnie Marranca For more than four decades Meredith Meredith’s work as composer, performer, director, choreographer, and filmmaker has been influential in creating the new vocabularies of contemporary performance and media. She is a pioneer in what is known as “extended vocal technique,” introduced to a worldwide audi- ence through her many concerts and CDs. Dans

106    PAJ 90 (2008), pp. 106–116.  © 2008 Richard Foreman l D o w n o a d e d f r o m h t t p : / / direct . m i t . e d u p a / j j / l a r t i c e – p d f / / 3 0 3 ( 9 0 )

THINKING IMAGES Paul Kaiser and Marc Downie in conversation with Johannes Birringer Paul Kaiser and Marc Downie are two of the most prominent artists cur- rently working in the field of digital creation. Together with Shelley Eshkar, they formed a collaborative team in 2001, operating under the name the OpenEnded Group. Though the three largely work together, they sometimes work in pairs, create solo artworks,

SPALDING GRAY’S LAST INTERVIEW Theresa Smalec I On January 9th 2004 I interviewed Spalding Gray for the purpose of my dissertation research. Roughly twenty-four hours later, he went missing. Though I find it odd to frame my intentions in this manner, my essay is, at least in part, an effort to solve a mystery: Why did Gray agree to meet and discuss the life of

IN MEDIA RES Why Multimedia Performance? Eric Dyer, Brooke O’Harra, and Alex Timbers in conversation with Steve Luber Eric Dyer co-founded Radiohole in 1998, with Maggie Hoffman and Scott Halvorsen Gillette. Since that time he has been a principle collaborator and performer in Radiohole’s nine original performance works and two video works, Fast Girls at the End and More or Less Hudson’s Bay, Encore (avec

SITES OF DESIRE Nicholas Birns T he Shape, The Scent, The Feel of Things, a performance based on the  writings of Aby Warburg, conceived and directed by Joan Jonas, with  an original piano score composed and performed by Jason Moran. Dia: Beacon Riggio Galleries, Beacon, New York, October 2005 and October  2006.  The distinct contribution of Joan  Jonas  to  postmodern  perfor- mance has been the introduction  of a defined narrative and a complicated  relationship with anterior source mate- rial  into  tableaux,  without  yielding  to  conventional  storytelling.  In  works  such as The Juniper Tree, inspired by the  Brothers  Grimm,  and  the  more  recent  Lines In The Sand  based  on  the  poet  H. D.’s modernist-feminist epic Helen In Egypt (whose enactment of modernity’s  critical quest for primal, archaic nurtur- ing is a clear precursor to The Shape, The Scent, The Feel of Things), Jonas has been 

WHAT IS A FRENCH WESTERN? One Part Reality To Two Parts Fiction Marie Losier in conversation with Kristine Marx Marie Losier is a filmmaker whose films operate in a space between fantasy,  camp, absurdity, identity swapping, and her embrace of community. Born  in 1972 in Boulogne, France, she now lives in New York City. She has been  working on a series of film portraits of directors, beginning with Mike and George  Kuchar in 2003. Losier is presently working on three documentary portraits, with  musician  Genesis  P-Orridge,  filmmaker  Albert  Maysles,  and  filmmaker/musician  Tony Conrad. In addition to the portraits, she has created fictional short films that  develop from her actors’ idiosyncrasies and are shot in campy, homemade theatrical  sets. Losier’s deep love of the silent film era reveals itself as an underlying structure  for her works. Her films have been screened at the Tribeca Film Festival, the Seoul  Film Festival, and the Rotterdam International Film Festival. Her film The Ontological Cowboy, a portrait of Richard Foreman, was included in the 2006 Whitney Biennial.  This interview was taped in Losier’s loft in Greenpoint, Brooklyn, in June 2006.  Your film The  Ontological  Cowboy opens with Richard Foreman’s statement “The theatre is about sex . . . there’s always a huge erotic charge

AMERICAN PLAYWRIGHTS ON BECKETT Jonathan Kalb The following remarks by American playwrights on the subject of Samuel Beckett were gathered during January and February, 2006, in the course of researching a New York Times article on Beckett’s influence, published on March 26, 2006, in anticipation of Beckett’s centenary on April 13. Most of the writers quoted here are prominent enough not to need lengthy introductions,

BEYOND TIMIDITY? The State of British New Writing Aleks Sierz I t’s January 2005, ten years since Sarah Kane’s Blasted opened at the tiny Theatre Upstairs studio at the Royal Court. Although this was not the first play of the 1990s to have a raw in-yer-face sensibility, it quickly became the most notorious. Kane was soon patronizingly characterized as the “bad girl” of British new

PURE RAW Performance, Pedagogy, et (Re)presentation Marina Abramovic; interviewed by Chris Thompson and Katarina Weslien M arina Abramovic; has been pushing the limits of performance for over three decades. From 1965–70 she studied at the Academy of Fine Arts in Belgrade, and soon after that at the Academy of Fine Arts in Zagreb, where she later taught. Dans 1970 she began working with sound environments,