CUSP speakers, exemplars of enacted responsibility, share their personal histories of determination, encounters with adversity, insatiable intellectual curiosity, and eventual achievement. Collectively, they represent a tapestry of individual successes grounded in interdisciplinary collaboration, a passion for social justice, and group effort.

Andrew Delbanco, "Can College Be Fun?"
Monday, September 17, 2012 (6-8 pm) Teatro, Casa Italiana

Eitan Grinspun, “From Sorcery to Science: How Hollywood Physics Impacts the Sciences
Tuesday, October 2, 2012 (6-8 pm) Davis Auditorium

 James Ramsey,  “Let There Be Light: Bringing New York's Underground to Life"
Tuesday October 16, 2012 (6-8 pm) Teatro, Casa Italiana 

Joseph Stiglitz & Anya Schiffrin, "Inequality and Occupy: The roles of political performance and fairness in shaping global political discourse in the last two years."
Wednesday, November 14, 2012 (6-8 pm)  Rennert Auditorium, Kraft Center

Alexis Soloski,  “The Body Electric: Robots, Chatbots, and the Limits of Live Performance”
Tuesday November 27, 2012 (6-8 pm) Davis Auditorium

William Beeman,  "Evolution on Stage: How Performance Made us Human"
Thursday February 7, 2013 (6-8 pm) Rennert Auditorium

James Green, “Playing with Sex and Gender: Brazilian Carnival Past and Present” 
Monday February 18, 2013 (6-8 pm)  The Faculty House

Robert Zatorre, “Music in the Brain: Pitch, Imagery, and Emotion”
Monday March 4, 2013 (6-8 pm) Earl Hall Auditorium

  Darci Picoult, “Creating Stories for the Stage and Film”
Monday March 25, 2013 (6-8 pm) Faculty Room, Low Library

Lissette Olivares , “Coco Rico’s Revolutionary Pleasures: Screening and Workshop in Political Performance”
Thursday April 11, 2013 (6-8 pm) Rennert Auditorium

Screening of:
Coco Rico TV: Episode 1- How to Avoid the Taste of Poverty (29:15 mins)

No Mas Inflación/No More Inflation (2009) (4:08)

Multispecies Pooja (2012) (4:51)

Magical Phurba (2012) (2:48)

Program Details

Andrew Delbanco, "Can College be Fun?"
Monday, September 17, 2012 (6-8 pm) Teatro, Casa Italiana

Every college should be a place for play--in the sense of intellectual adventure, risk-taking, and sheer contemplation of the beauty and complexity of the world.  Yet from admission to graduation, college today is more and more focused on measurable performance on tests and as measured by the "metric" of grades. 

How can the sense of play be restored at a time when every college, including Columbia, faces challenges old and new-- soaring tuition; student anxiety about post-college job prospects;  faculty caught between specialized research and college teaching-- and many more. 

 Andrew Delbanco is Mendelson Family Chair of American Studies and Julian Clarence Levi Professor in the Humanities at Columbia University.  He was awarded the 2011 National Humanities Medal by President Barack Obama  “for his writing that spans the literature of Melville and Emerson to contemporary issues in higher education.” In 2001, he was elected a Fellow of the American Academy of Arts and Sciences and named by Time Magazine as “America’s Best Social Critic.” In 2003, he was named New York State Scholar of the Year by the New York Council for the Humanities. In 2006, he received the “Great Teacher Award” from the Society of Columbia Graduates.

Professor Delbanco is the author of many books, including, most recently, College: What it Was, Is, and Should Be (Princeton University Press, 2012).The Abolitionist Imagination (Harvard University Press, 2012).  Melville: His World and Work (2005) was published in the United States by Alfred A. Knopf, in Britain under the Picador imprint, and has appeared in German and Spanish translation. Melville was a finalist for the Los Angeles Times Book Prize in Biography, and appeared on “best books” lists in the Washington Post, Independent (London), Dallas Morning News, and TLS.  It was awarded the Lionel Trilling Award by Columbia University.

Other books include The Death of Satan (1995), Required Reading: Why Our American Classics Matter Now (1997), and The Real American Dream (1999), which were named notable books by the editors of The New York Times Book Review.  The Puritan Ordeal (1989) also won the Lionel Trilling Award. He has edited Writing New England (2001),  The Portable Abraham Lincoln (1992, 2009), volume two of The Sermons of Ralph Waldo Emerson (with Teresa Toulouse), and, with Alan Heimert, The Puritans in America (1985).

Andrew Delbanco’s essays appear regularly in The New York Review of Books, New Republic, New York Times Magazine, and other journals, on topics ranging from American literary and religious history to contemporary issues in higher education. 

Mr. Delbanco has received fellowships from the Guggenheim Foundation, the American Council of Learned Societies, and the National Endowment for the Humanities, and was a member of the inaugural class of fellows at the New York Public Library Cullman Center for Scholars and Writers.  He is a trustee of the Library of America, and the Teagle Foundation, and trustee emeritus of the National Humanities Center.  He has served as Vice President of PEN American Center, and as a trustee of the Association of American Colleges and Universities. 

Eitan Grinspun, “From Sorcery to Science: How Hollywood Physics impacts the Sciences”
Tuesday, October 2, 2012 (6-8 pm) Davis Auditorium

Cinema uses computers to animate physics. Special effects such as explosions and lifelike depictions of imaginary characters are made possible by mathematical and computational models that capture qualitative, characteristic behavior of a mechanical system. This is scientific computing with a twist. I will describe the process by which we derive and compute models of physics, and show actual examples of resulting technologies in film, consumer products, physics, and medicine.

Eitan Grinspun is Associate Professor of Computer Science at Columbia University, and Director of the Columbia Computer Graphics Group. His research seeks to discover connections between geometry, physics, and computation, typically with applications to computer graphics. He received his Ph.D. in Computer Science from the California Institute of Technology in 2003, and his B.A.Sc. in Engineering Science from the University of Toronto in 1997. He was Professeur d'Université Invité in Paris at l'Université Pierre et Marie Curie in 2009, and a Research Scientist at the Courant Institute of Mathematical Sciences in 2003-04. He is an Alfred P. Sloan Research Fellow and NSF CAREER Award recipient, and was previously an NVIDIA Fellow and a Caltech Everhart Distinguished Lecturer. The technologies developed by his laboratory are used in consumer software such as Adobe Photoshop & Illustrator, in film studios such as Disney, Pixar, and Weta Digital, and in physics laboratories at institutions such as MIT and the Université Paris VI. His work has been profiled in The New York Times, Scientific American, and Popular Science (“Brilliant 10”).

James Ramsey,  “Let There Be Light: Bringing New York's Underground to Life"
Tuesday, October 16, 2012 (6-8 pm) Teatro, Casa Italiana

 James is the creator of a revolutionary concept called the Lowline, as well as the inventor of the next generation solar technology that makes it possible.  The Lowline seeks to create a vibrant green space underneath the Lower East Side in what was once a trolley terminal that was built in 1908.

James Ramsey is an architect and inventor—a collection of traits more reminiscent of a bygone era than it is of today’s culture of intense specialization and talent streamlining.  As principal of RAAD and creator of the LowLine, James has created a firm that holds true to the traditional idea that design should remain informed by the craft of building and shaping materials. This belief is apparent in all divisions of the company from product design and invention to architecture and urban planning.  James’ intellectual energy and creative drive emanate through his life and his work.

James studied architecture at Yale University where he won a Bates Fellowship to study cathedral design in Europe.  He then went to work as a satellite engineer for NASA, an integral part of the team that created the Pluto Fast Flyby and the Cassini satellites.

RAAD was created in 2004: www.raadstudio.com.  RAAD specializes in creating objects and spaces that emphasize the craft of construction—knowledge gleaned from close and continued collaboration with builders.  This focus on the materiality, joinery and detail of design is apparent in all RAAD’s work.  RAAD has quadrupled in size since 2008, and now consists of three divisions—products, architecture and urban design.  James closely oversees each of these aspects and personally holds several patents for inventions.  His products range from mobius-loop furniture to modernist chicken coops, while his architectural work runs the gamut from multi-million dollar renovations to ground-up construction for both commercial and private clients.

James is also the creator of the LowLine, an initiative to create the world’s first underground park, and the inventor of the solar technology that makes it possible.  The LowLine seeks to transform an abandoned NYC trolley terminal into a vibrant green space with natural sunlight.  More info can be found at www.thelowline.com.  James is the founder of a related non-profit group, the Underground Development Foundation, where he serves as President.

When he’s not spending late nights hunched in front of a floor plan, James can be found playing North-Mississippi-style guitar in a band with a news anchor and a movie executive.    An avid and accomplished chef, James enjoys foraging for ingredients and shuns any sort of cookbook as he produces regular dinner parties for 20-30 friends at a time, one of which was recently featured in Bon Appétit. Besides being a card-carrying member of the New York Mycological Society,the Origami USA organization, as well as several Paleontology societies, James is actively involved in ArtWorks, an organization dedicated to bringing art education to children with special needs. 

Joseph Stiglitz & Anya Schiffrin, "Inequality and Occupy: The roles of political performance and fairness in shaping global political discourse in the last two years."
Wednesday, November 14, 2012 (6-8 pm)  Rennert Auditorium

Anya Schiffrin and Joseph Stiglitz will discuss their new books and how anger at growing inequality and unemployment have influenced political discussions and protest in the US and abroad.

Anya Schiffrin is the director of SIPA's International Media, Advocacy and Communications Specialization. She spent 10 years working overseas as a journalist in Europe and Asia, writing for a number of different magazines and newspapers. She was bureau chief for Dow Jones Newswires in Amsterdam and Hanoi and wrote regularly for the Wall Street Journal. She was a Knight-Bagehot Fellow at Columbia University's Graduate School of Journalism in 1999-2000 and then a senior writer at the Industry Standard, covering banking and finance.

In addition to serving as director of the IMAC specialization, Schiffrin directs the journalism training programs of the Initiative for Policy Dialogue (IPD), a global economic think-tank based at Columbia University. The IPD journalism training program has received support from Rockefeller Brothers Fund, the Ford Foundation, and the Open Society Institute. She was the founder of the website www.journalismtraining.net which provides training materials for journalists.

Schiffrin organizes seminars around the world to strengthen the capacity of journalists in developing countries to cover finance and economics. She has taught in Azerbaijan, China, Indonesia, Moldova, Mongolia, Nigeria, Kazakhstan, South Africa and Vietnam. She is a regular lecturer at the International Institute for Journalism in Berlin. Five years ago, Schiffrin launched, in collaboration with Columbia's Journalism School, an annual seminar for journalists on "Covering Globalization". The seminar, which has been supported by The New York Times Foundation, attracts journalists from around the world, as well as students from SIPA and the Journalism School.

She currently serves on the Advisory Board of Revenue Watch, an international NGO which seeks to ensure that developing countries receive the full benefit of their natural resources, and that the revenues generated are used, in an open and transparent way, to promote development.

Schiffrin is a member of the sub-board of the Open Society Foundation's Media Program.

Joseph E. Stiglitz was born in Gary, Indiana in 1943. A graduate of Amherst College, he received his PHD from MIT in 1967, became a full professor at Yale in 1970, and in 1979 was awarded the John Bates Clark Award, given biennially by the American Economic Association to the economist under 40 who has made the most significant contribution to the field. He has taught at Princeton, Stanford, MIT and was the Drummond Professor and a fellow of All Souls College, Oxford. He is now University Professor at Columbia University in New York and Co-Chair of Columbia University's Committee on Global Thought. He is also the co-founder and Co-President of the Initiative for Policy Dialogue at Columbia. In 2001, he was awarded the Nobel Prize in economics for his analyses of markets with asymmetric information, and he was a lead author of the 1995 Report of the Intergovernmental Panel on Climate Change, which shared the 2007 Nobel Peace Prize. In 2011, Time named Stiglitz one of the 100 most influential people in the world.

Stiglitz was a member of the Council of Economic Advisers from 1993-95, during the Clinton administration, and served as CEA chairman from 1995-97. He then became Chief Economist and Senior Vice-President of the World Bank from 1997-2000. In 2008 he was asked by the French President Nicolas Sarkozy to chair the Commission on the Measurement of Economic Performance and Social Progress, which released its final report in September 2009. In 2009 he was appointed by the President of the United Nations General Assembly as chair of the Commission of Experts on Reform of the International Financial and Monetary System, which also released its report in September 2009.

Stiglitz holds a part-time appointment at the University of Manchester as Chair of the Management Board and Director of Graduate Summer Programs at the Brooks World Poverty Institute. He serves on numerous other boards, including Amherst College's Board of Trustees and Resources for the Future.

Stiglitz helped create a new branch of economics, "The Economics of Information," exploring the consequences of information asymmetries and pioneering such pivotal concepts as adverse selection and moral hazard, which have now become standard tools not only of theorists, but of policy analysts. He has made major contributions to macro-economics and monetary theory, to development economics and trade theory, to public and corporate finance, to the theories of industrial organization and rural organization, and to the theories of welfare economics and of income and wealth distribution. In the 1980s, he helped revive interest in the economics of R&D.

His work has helped explain the circumstances in which markets do not work well, and how selective government intervention can improve their performance.

Recognized around the world as a leading economic educator, he has written textbooks that have been translated into more than a dozen languages. He founded one of the leading economics journals, The Journal of Economic Perspectives. His book Globalization and Its Discontents (W.W. Norton June 2001) has been translated into 35 languages, besides at least two pirated editions, and in the non-pirated editions has sold more than one million copies worldwide. Other recent books include The Roaring Nineties (W.W. Norton); Towards a New Paradigm in Monetary Economics (Cambridge University Press) with Bruce Greenwald; Fair Trade for All (Oxford University Press), with Andrew Charlton; Making Globalization Work, (W.W. Norton and Penguin/ Allen Lane, 2006); The Three Trillion Dollar War: The True Cost of the Iraq Conflict, (W.W. Norton and Penguin/ Allen Lane, 2008), with Linda Bilmes of Harvard University; and Freefall: America, Free Markets, and the Sinking of the World Economy (W.W. Norton and Penguin/ Allen Lane, 2010). His most recent book is The Price of Inequality: How Today's Divided Society Endangers Our Future, published by W.W. Norton and Penguin/ Allen Lane in June 2012.
 

Alexis Soloski,  “The Body Electric: Robots, Chatbots, and the Limits of Live Performance”
Tuesday, November  27, 2012 (6-8 pm) Davis Auditorium

A theatrical truism states that a play requires at least one actor and one spectator. But what if that actor is something more or less than human--a robot, a chatbot, an android, a cyborg? Is a robot a thespian? Is a conversation between chatbots a play? In this talk, we’ll explore the use of the non-human and super-human in contemporary drama (via discussion and clips from works by Annie Dorsen, Rich Maxwell, Les Freres Corbusier, etc.), investigating the challenges such performances pose to liveness, performance, and mimesis.

Alexis Soloski is a post-doctoral lecturer at Columbia University in Literature Humanities. Her research interests and recent publications include articles on documentary drama, contemporary playwrights, robot performance, and drama and disease. As a journalist, she is a drama critic at The Village Voice and a frequent contributor to the New York Times, the Guardian, and BBC Radio. She is a member of the New York Drama Critics Circle and the OBIE Awards Committee.

William Beeman,  "Evolution on Stage: How Performance Made us Human"
Thursday, February 7, 2013 (6-8 pm) Rennert Auditorium

Performance has a unique ability to affect human beings emotionally. Moreover, it appears to be a uniquely human form of behavior. I present here an hypothesis to explain both how this is accomplished, and why performance developed as a human behavioral characteristic. Emotions serve to warn humans of dangerous circumstances, and reinforce pleasurable ones. Advances in the study of the structures of the human prefrontal cortex suggest that performance may provide a means for humans to experience and learn about emotional states in a protected environment. This ability to learn about and share emotions is one of the characteristics that distinguishes humans from other animals. Thus, performance has evolutionary value for humans. To illustrate this, I will show examples from a wide variety of cultures and performance traditions.

William O. Beeman is Professor and Chair of the Department of Anthropology, University of Minnesota. He was formerly Professor of Anthropology and Director of Middle East Studies at Brown University. Trained as a linguistic anthropologist, he is well known as a Middle East Specialist. He has also worked in Central Asia, the Caucasus, Japan, China and South Asia. Recognized for special expertise in Iranian culture, he is the author or editor of more than 100 scholarly articles, 500 opinion pieces and 14 books, including Language, Status and Power in Iran, and The "Great Satan" vs. the "Mad Mullahs": How the United States and Iran Demonize Each Other, and (with Daniel Helfgot) The Third Line: The Singer as Interpreter. His most recent book is Iranian Performance Traditions. He is a professional opera singer and in the last decade has published widely in the area of performance theory, having investigated traditional performance in Japan, China, India, Iran and Europe. His work has increasingly focused on the neurobiology of performance including drama, dance and music.  

James Green, “Playing with Sex and Gender: Brazilian Carnival Past and Present”
Monday, February 18, 2013 (6-8 pm)  Faculty Room, Low Library

In Rio de Janeiro, pre-Lentan merriment has provided a unique moment for gender bending, cross-dressing and playful performances of race, class, and difference. Street festivities and Carnival celebrations  both challenge and reenforce dominant notions of appropriate sexual and social behavior. An historic overview of Rio de Janeiro famous annual event, focusing especially on gay amusement examines whether these are subversive antics or merely fun-loving street frolics whose antics merely mirror the status quo.

James N. Green is Professor of Brazilian History and Culture at Brown University and the former Director of the Center for Latin American and Caribbean Studies. He is the author of the prize-winning books Beyond Carnival: Male Homosexuality in Twentieth-Century Brazil and We Cannot Remain Silent: Opposition to the Brazilian Military Dictatorship in the United States. He is a co-editor of Modern Latin America, the most-widely used textbook in the field as well as The Brazil Reader: History, Politics, and Culture. Green has also co-edited Exile and the Politics of Exclusion in the Americas, A Mother's Cry: A Memoir of Politics, Prison and Torture under the Brazilian Military Dictatorship, among other publications. The recipient of American Council of Learned Society, National Endowment of the Humanities, and Fulbright Fellowships, Green as been a Visiting Professor at Columbia University, Hebrew University of Jerusalem and the Federal University of Rio de Janeiro. He has served as the President of the Brazilian Studies Association and the New England Council on Latin American Studies. He is currently completing a biography entitled Exiles within Exiles: Herbert Daniel, Brazilian Gay Revolutionary.

 Robert Zatorre, “Music in the Brain: Pitch, Imagery, and Emotion”
Monday, Marth 4, 2013 (6-8 pm) Earl Hall Auditorium

How do our brains allow us to perceive, and perform music? How do we imagine musical sounds? Why does music elicit emotion? Neuroscientists are increasingly interested in questions such as these, because music can be a powerful way to reveal the inner workings of the mind and the nervous system that underlies it. Since music touches upon almost all of the higher mental functions, it provides us with a rich source of material to understand how the brain works. Conversely, musicians and musical scholars are beginning to become interested in the idea that the study of music and the brain may reveal insights into music, too.

In this lecture I will discuss research carried out in our lab over the past few years that help to shed light on these questions. Our research uses brain imaging technologies to investigate the patterns of brain activity that are important for simple events, like perceiving the pitch of a musical tone, to more complex abilities, such as recognizing a melody, or even imagining a melody when there is no sound. We also can study the anatomy of the living brain, to understand for example how the brain of a musician is specialized for perceiving and performing music. Finally, we can also use brain imaging to trace specific chemical pathways, such as the ones responsible for feeling emotion when we hear music. Our goal is to understand how the brain allows us to have music, and how music in turn affects the way our brains function.

Dr. Zatorre is a cognitive neuroscientist whose research explores the functional and structural organization of the human brain using neuroimaging and behavioral methods. His principal interests relate to the neural substrate for auditory cognition, with special emphasis on two complex and characteristically human abilities: speech and music. He and his collaborators have published over 200 scientific papers on a variety of topics including pitch perception, musical imagery, absolute pitch, music and emotion, perception of auditory space, and brain plasticity in the blind and the deaf. In 2005 he was named holder of a James McGill chair in Neuroscience. In 2006 he became the founding co-director of the international laboratory for Brain, Music, and Sound research (BRAMS), a unique multi-university consortium with state-of-the art facilities dedicated to the cognitive neuroscience of music. In 2011 he was awarded the IPSEN foundation prize in neuronal plasticity.

 Darci Picoult, “Creating Stories for the Stage and Film”
Monday, March 25, 2013 (6-8 pm) Faculty Room, Low Library

What does it take to develop a story from page to performance? Darci Picoult, a screenwriting and playwriting fellow at the Sundance Film and Theater Labs, and acting teacher at NYU Tisch School Of The Arts, speaks of her experience on location and in the rehearsal room, highlighting the integral relationship between actors, directors, writers and producers. 

Darci's screenplay MA' GEORGE directed by Andrew Dosunmu, is currently in post production. It was developed at the Sundance Film Labs where it was awarded a Maryland Filmmakers Fellowship, an Annenberg grant and was one of three USA finalists for the International NHK/Sundance award.

Darci's one woman show, MY VIRGINIA, was presented in theaters and solo festivals both nationally and internationally. Performances include New York Theater Workshop, Ensemble Studio Theater, LA Theater Work's "The Play's The Thing" series, which was broadcast throughout the country on National Public Radio, "Women Center Stage" in St. Louis, San Francisco's Solo Mio Festival, Philadelphia's Women's Theater Festival, Slovenia's "City of Women" Theater Festival and in Croatia at the Cultural Center for Women Refugees. MY VIRGINIA has also been performed for legal and medical conferences across the country in programs cosponsored by the National Cancer Institute and the National Institutes of Health; and in Brussels for a program sponsored by the European Commission and was showcased on the BBC series MEDICINE AT THE CROSSROADS.

Theatrical work includes LIL'S 90th, developed at the Sundance Theater Lab, world premiere at The Long Wharf Theater in New Haven under the direction of Jo Bonney; JAYSON WITH A Y  developed at NY Stage and Film and produced by The New Group in New York;  MOTHER DAUGHTER VARIATIONS, commissioned by Larry Wilker/Theater Dreams, ANCIENT LIGHTS and MAKING THE WORLD ROUND workshopped at New York Theater Workshop and read at Lincoln Center as part of the New York Public Library Reading series.

Darci taught writing for the  Legacy Project at the Public Theater, NY Shakespeare Festival and currently teaches acting at the Tisch School of the Arts/New York University.

She is the recipient of the 2008 National Theater Conference/Paul Green Award for her theatrical work.

Lissette Olivares , “Coco Rico’s Revolutionary Pleasures: Screening and Workshop in Political Performance”
Thursday, April 11, 2013 (6-8 pm) Rennert Auditorium

Screening of:

Coco Rico TV: Episode 1- How to Avoid the Taste of Poverty (29:15 mins)

No Mas Inflación/No More Inflation (2009) (4:08)

Multispecies Pooja (2012) (4:51)

Magical Phurba (2012) (2:48)
 

This screening and workshop will introduce the audience to the political performance of Coco Rico, a Latina cyborg interventionist that trespasses across the tissue of time and space to promote feminist, anarchist, and multispecies approaches to consciousness. Coco Rico’s performance repertoire is committed to the elaboration of alternate political imaginaries through speculative feminism and fiction, including an ongoing presidential campaign that features her companion species toy poodle, Luk Kahlo, as a co-presidential candidate. Her most recent posthumanistic performances are inspired by naturalcultural rituals conducted by indigenous healers and shamans throughout the universe.

This multimodal presentation explores the political potentialities of performance and play within Coco Rico’s experimental trajectory. Students will engage in a discussion around the role of the artist in society while critically considering how performance can decolonize mainstream mediations of racialized and gendered bodies in film, television, and video. At the end of the session students will have time to play activist games that help them to brainstorm their own performative repertoires.

Suggested Readings:

 Coco Fusco, “The Other History of Intercultural Performance,” TDR 1988, vol.38, no.1 (Spring 1994) pp. 143-167.

 bell hooks, “The Oppositional Gaze: Black Female Spectators,” Black Looks:

Race and Representation (Boston: South End Press, 1992) pp. 115-13.

Gomoll, Lucian. “The Feminist Pleasures of Coco Rico‟s Social Interventions.” Art and the Artist in Society, edited by Jose Jimenez-Justiniano and Elsa Luciano (CEA-CC, Cambridge Scholars Press, 2011) pp.1-20.

Lissette Olivares is an artist, activist, curator, and transmedia storyteller that is committed to interdisciplinary approaches to knowledge production. Her work as an artist-agent investigates the realm of human, animal and ecological exploitation through diverse technologies including creative writing, performance, intervention, experimental video and multimedia installation. Three recent collaborative projects, Kiltr@s (2012), Revisiting Art Farm (2012), and SEEDBANK (2012), develop transmedia methodologies for multispecies ethnography using visual anthropo(zoo)logy, video installation and architectural design.  She is the co-founder of Sin Kabeza Productions, which is dedicated to the creation and dissemination of experimental transmedia and which currently has a collection of its experimental work on display at dOCUMENTA (13)’s The Worldly House: An Archive Inspired by Donna Haraway’s Multispecies Writings.