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Lauren Lee McCarthy


Info︎

LAUREN works
  1. LAUREN
  2. SOMEONE
  3. LAUREN Portable
  4. Exhibition: You Can Say
  5. The Changing Room
  6. Waking Agents
  7. I.A. Suzie

Saliva works
  1. Exhibition: Bodily Autonomy (Saliva Bar)
  2. Saliva Retreat
  3. Saliva
  4. Testing

Surrogate works
  1. Surrogate
  2. Exhibition: Data Relations
  3. Exhibition: Reproduction Otherwise
  4. Surrogate Performance
  5. Womb Walk

Autonomous works
  1. Voice In My Head
  2. Driverless
  3. Unlearning Language
  4. 24h HOST
  5. Seeing Voices

Muted works
  1. Exhibition: I Heard Talking Is Dangerous
  2. Muted
  3. I heard TALKING IS DANGEROUS
  4. Good Night
  5. Good Morning
  6. What do you want me to say?
  7. Sleepover
  8. Later Date
  9. Appreciate You

Other recent works
  1. Follower
  2. Social Turkers
  3. Vibe Check
  4. I’m glad you asked
  5. Autoreply
  6. pplkpr
  7. us+

Teaching & pedagogy
  1. p5.js
  2. Open Source Software Toolkits for the Arts Report
  3. Web We Want (W3C TPAC)
  4. Smarter Home
  5. Network Media
  6. Performing User
  7. Senior Capstone
  8. Disability, Design, and the Web
  9. Interactivity
  10. Conversation & Computation
  11. Social Hacking
  12. Critical APIs
  13. Computational Media
  14. Introduction to Programming for the Visual Arts (Free online course)

Archive
  1. Beyond the Breakdown
  2. How We Act Together
  3. Wake Words
  4. Friend Crawl
  5. Welcomer
  6. M/WITM
  7. The Changing Room: Brisbane
  8. Social Soul
  9. You Can Say
  10. Tools for Improved Social Interacting
  11. Inactive Account Manager
  12. Facebook Mood Manipulator
  13. LOVEINT
  14. SCRIPT

Mark

Performing User


UCLA DMA Fall 2018
Class website, UCLA DMA

NYU ITP Spring 2016
Class website, NYU ITP
Syllabus

UCLA DMA Winter 2011
Class website, UCLA DMA
Syllabus

Course Description

How do the technologies we use on a daily basis choreograph our actions, cause us to perform, and open spaces for improvisation? What are the ways we perform for each other, and how do the internet, mobile phones, and other networked technologies create new performance sites and possibilities?

The course will be structured around four performance assignments, requiring students to perform with physical hardware, on the internet, via telepresence, and in collaboration with a crowd. An important part of the course will be learning to critique each other’s work constructively—experiencing with an open mind, and thoughtfully and articulately responding.

The performance activities will be supplemented with study of prior performance art engaging technology, short readings, and technical workshops. The workshops will introduce technical tools the students may choose to incorporate into their work, such as IFTTT, Twitter bots, WebRTC, and Mechanical Turk. However, the focus will be on considering the context, function, and meaning of these technologies and translating this into novel ways of performing with them.

No technical experience is required, though students may incorporate existing skills into their work. A desire to take risks and step outside of one’s comfort zone is necessary.

Reading List


Cohen-Cruz, Jan, ed. Radical Street Performance. New York: Routledge, 1998
Wardrip-Fruin, Noah & Montfort, Nick, ed. The New Media Reader. Cambridge: MIT Press, 2003
Bishop, Claire, ed. Participation: Documents of Contemporary Art. Cambridge: MIT Press, 2006
Critical Art Ensemble, The Electronic Disturbance
Scenarios: Scripts To Perform, ed. Richard Kostelanetz. Brooklyn, NY: Assembling Press, 1980
Jens Hoffmann and Joan Jonas, Art Works: Perform
Michael Huley and Noel Witts, The Twentieth Century Performance Reader
Roselee Goldberg, Performance Art from Futurism to the Present

Student Work

Celynne Ianne Hebron


Elana Sasson

Rachel Tu

Karina Lopez

Gustavo Cordova


Donyi Wu


Gabbie Bautista and Wesley Chou

Hunter Bird

Cindy Chi

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