Immaterial Yielding Inc.
hypnogogotanzen oneirocritical stagecraft
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hypnogogotanzen oneirocritical stagecraft
audible rhythm enhancements
bewildering bodywork
purposelessly permutational poetics
epistemics of wiffleball
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with emotivational dramaturguru
Art K. Odberd

including but not limited to: vibrational mixation, context mechanics, styrophonic acoustical counseling, logical gastric constructs, lyrical propulsion, interpretive theatrical advancement, architectural arrhythmia, live nomenclature, unshaven existence, media knots, piecemeal archival resistance, loyalty among measles, refusionism, modern tongue swallowing, compulsive two-leggedness, choreographic spit, distillation of acrobatics, numerous mucii, popular stomach appeal, and subcultural refrigeration.

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ART K. ODBERD, Over the past two decades has made a handful of low profile, low budget appearances throughout the San Francisco Bay Area -- grassroots experimentalism erupting in galleries, niteclubs, cafes, bookstores, sidewalks and vacant lots -- always promoting a visionary poetics of off-the-wall joy. He has made surrealist use of that assumed obsolete device the OVERHEAD PROJECTOR, performing pseudoautomatic poetry and drawing simultaneously; Odberd berated film festival patrons of Berkeley's Fine Arts Theatre with the spoken word montage "VERITE SANS CINEMA"; and notoriously swigged red wine while playing several hands of Strip Solitaire in the foyer of a college library in "BORN TO LOSE". Among his performance/installations are "FREE SWISS CHARD" at Oakland's Door 3 Gallery, "EXASPERATING SASQUATCH" at the SFAI Walter McBean Gallery, and "REFERENCE PERFORMANCE FOR ARTISTS" at The Lab.

official disrupter of dada festivals