Far-Flung follows function

Far-Flung follows function2013. A collaboration with Ursula Endlicher on a theatrical exploration in which the performance space turned into a crashing computer whose population of finders, daemons, mice, and the like struggle to avert catastrophe. Welcome to the commedia of the motherboard. Premiered in the Experimental Media Performance Lab (xMPL) at UC Irvine. Check out this page for more information, or visit the project website.

Galileo in America

2012. An orginal performance work (for which staged readings were held in 2004). Produced at the Contemporary Arts Center in the Experimental Media Performance Lab (xMPL), UC Irvine. More information and pix...

Hangmen Also Die

2010. A performance-installation project with director Robert Allen commissioned by the Laguna Art Museum for the OSCENE 2010 exhibition. More information and pix...

WISP (World-Integrated Social Proxy)

2010. An intervention project in which I trained a real-world avatar of myself to test the limits of personal substitution in the professional sphere. First major deployment at College Art Association Conference, February 2010.


May 20 and Sept. 9, 2009. I took part as an online performer and graffiti artist in this cyberformance work by Marlena Corcoran that was inspired in part by the emergency landing of a jetliner in the Hudson River in January 2009. The May performance (screen cap at far left) was sponsored by the Fondazione Querini Stampalia, Venice. The September performance (screen cap at left) was part of the "UpStage 090909" festival of online performance; it was viewable both by web broswer and at various venues, including Norsk Telemuseum (Oslo), Eclectic Tech Carnival (Istanbul), Muffatwerk Cafe (Munich); and MAD art center (Eindhoven, Netherlands). Both performances took place on UpStage in the "Salvation" cyberstage.

Playing the Rapture

2008. An original performance work that examines American evangelical belief in the Rapture. It is structured around two gamers creating and beta-testing a new computer game about the Rapture, a project that leads them into conflict, confusion, and near despair. It premiered at the Baltimore Theatre Project in March 2008. Pix, video, more info...

Water Under the Bridge

August 2008. I took part in this piece by Marlena Corcoran as an online performer. It was included in the 080808 UpStage Festival, and projected simultaneously in the ZKMax Gallery, Munich.


2008. A multistage experiment in world construction and responsive narrative based on a miniature biome. Stage 1 took place online in 2008, and stage 2 is still in progress. Pix and more info...

How Much Taboo Does Art Need?

2008. In May, I and my students participated as contributors to the Wieviel Tabu braucht die Kunst?" project organized by Ursula Endlicher, Ela Kagel, and Anke Zimmermann in Zurich, Switzerland. We had a live video/voice connection to the event as the "Universal Translation Service" whose motto was: "Our goal is perfection. We translate all languages with 100 percent accuracy, guaranteed." However, the real mission of the "Universal Translation Service," which featured a running commentary on the performance in Korean, Thai, German, French, and English, was to explore those pleasures of translation that exist once the notion of accuracy has been jettisoned.


2004-2006. A performance work about American Memory, a single character whose many voices are woven together into a complex texture of language, sound, and music. It is an improvisation in which actors, avatars, and musicians create a kind of covert national anthem. Created in collaboration with director Robert Allen, sound artists Cuca Esteves and Jeff Ridenour, actor Tracey A. Leigh, and the Plaintext Players, it premiered at the Beall Center for Art & Technology in July 2004. A new version premiere had its East Coast premiere at the Baltimore Theatre Project in November 2006. Pix, video, more info...

Galileo in America

An early workshop version of the project (produced at full-length in 2012). Staged readings of this work in progress for which I was the scriptwriter were held at the Goethe Institute L.A. and the Villa Aurora, Pacific Palisades, in October 2004. More information.

The Roman Forum Project (2003)

Spring 2003. A mixed-reality performance work examining the American political scene between the postelection crisis of 2000 and the invasion of Iraq. Drawing on five Roman characters from the 1st century C.E., a time when Rome's republican government was under great strain from the stresses of building and maintaining a large empire, it critiqued America's vision of its role in the world. An ensemble work designed for nontraditional spaces, it is a kind of "media commedia" melding Internet technologies, video projections, and classical Greek and Roman theatrical traditions. It was created in collaboration with director Robert Allen, sound artists Cuca Esteves and Jeff Ridenour, the Plaintext Players, and a group of actors. A sequel to The Roman Forum 2000 (see below), it premiered at the Beall Center for Art and Technology in March 2003. Pix, video, and more info...

Reading Frankenstein

2003. A multimedia performance work about artificial life, recent research in neurological processes related to reading and perception, and Mary Shelley's classic gothic novel. It was created in collaboration with director Annie Loui and neurobiologist Jim Fallon. A half-hour workshop production of an early version of the work was held at the Beall Center for Art & Technology in May/June 2002. The finished work premiered at the Beall Center in May/June 2003. Pix, video, and more info...

The Roman Forum (2000)

Fall 2000. A series of linked online improvisations and stage events centered on the 2000 Democratic National Convention and set against the backdrop of Imperial Rome. This neo-vaudevillean exploration by 1st century Romans breached the boundaries between the Internet, the real world, history, and the stage to forge a hybrid work out of the differing perspectives of each. It was created in collaboration with director Robert Allen, the Plaintext Players, and a group of actors. Pix, video, more info...

Virtual Live

2000. A preview event for The Roman Forum 2000 that took place at Location One Gallery, New York. A live performance involving both in-gallery actors and net-based improvisers was streamed live to the web. More information.

The Coronation of Poppaea"

2000: Conceived, directed, and took part in a cyberperformance included in the "Global Brain–Bonner Wissenschaftsnacht" festival, sponsored by Friedrich Wilhelms Universität. Bonn, Germany.

An Internet Performance for the Third Millennium: Birth of the Christ Child

Dec. 1999. Online performer-writer in cyberperformance by Marlena Corcoran sponsored by the Literaturhaus München, Munich, Germany, in honor of the millennium. The transcript of this performance was subsequently published in Performance Art Journal (2003).

Still Lies Quiet Truth

1998. A performance work whose script was derived from the live avatar-based cyberformances of "The Candid Campaign." Show projections featured glimpses of an online virtual world. It premiered at the New York Digital Salon and was re-presented at the New York International Fringe Festival. More information.

Mainz Intermediale

1998. I was an Internet performer in Marlena Corcoran's Gallbladder Sonata for this festival.

Silent Orpheus

Dec. 1, 1997. A Plaintext Players cyberperformance based on the Orpheus myth, presented for the International Day Without Art at the 55 Broad St. Video Wall, New York. More information.

Orpheus: I Am the Music

July 1997. A cyberperformance based on the Orpheus myth. Presented at documenta X (Kassel, Germany) through Club Media. More information.

The White Whale

June 1997. A series of cyberperformances about a white whale in the Mediterranean presented at the Venice Biennale, Italy, through Club Media. More information.

The Candide Campaign

Oct.-Nov. 1996. A series of cyberperformances presented at Postmasters Gallery, New York, as part of the "Password Ferdydurke" exhibition. More information.

Gutter City

Nov. 1995. A series of cyberperformances with a Civil War theme that took place as part of the New York Digital Salon. More information.


Sept.-Oct. 1995. A series of cyberperformances as part of the "Blast 4: Bioinformatica" show at the Xavier Lopez Gallery, London. More information.


1995. Online performer-writer in role of Carl Jung; created and directed by John Galt. Institute of Cultural Inquiry.


1995. Online performer-writer in role of Carl Jung; created and directed by John Galt. Institute of Cultural Inquiry.

An irc channel named #Desire


1995. Online performer in Blanche for Hamnet Players version of Streetcar Named Desire; directed by Stuart Harris.

Christmas 1994-95

A series of cyberperformances as part of the "Blast 4: Bioinformatica" show at the Sandra Gering Gallery, New York, March-Dec. 1994. A special extra performance in this series was presented at the European Media Arts Festival, Sept. 1995. More information.

The Plaintext Players

Founded 1994. A pioneering group of cyberperformers who have been creating live online improvisations since the inception of the web. As the group's founder and artistic director, I direct many of their unique performances, which generally take the form of textual improvisations based on written scenarios. One of the longest-running groups of cyberperformers, the Players have recently been involved in creating mixed-reality works that merge cyberspace and realspace in various ways. More information.

The Dadashop Quartet

Trojan Waltz

1991. Performed in this a capella work I wrote for four voices that melded original material with text from Rabelais, Shakespeare, and a letter from Sol LeWitt to Eva Hesse. Premiere at Schoenberg Hall (Los Angeles).


1990. Performer in short video by Lorie Erikson.

This And/Or That

1988-89. Performer in collaborative work by choreographer Ellen Webb and artist Sandy Walker. Premiere at Cal Performances/On Stage Zellerbach series (Berkeley, CA), 1988. Repeated at the Oakland (CA) Museum, 1989.