1/20. I find that as a tutor, my tutoring work, like this video still taken of me while instructing video at Art Institute in North Hollywood, is multifaceted. The income I make from tutoring helps supplant the money lost from the 'unsellable poetry', a passion of mine, like the theory-heavy work that constitutes my Ph.D. in Arts & Computational Technology at Goldsmiths, University of London.
2/20. I found myself thrown into tutoring from a place of desperation. Since I did not have academic job offerings after I graduated from UC Santa Cruz in 2010 and Goldsmiths in 2013, I offered to tutor in over 50 subjects when I signed up to work for a private tutoring service in Los Angeles. My jobs in digital media, like Adobe Illustrator and Photoshop, led to help students complete their projects.
3/20. The lengthier tutoring sessions that involve code changed my role from a tutor into a collaborator. The moving robot on the left was for an interactive JavaScript project at Santa Monica College. The pong game on the right depicts Rudolf the red nose reindeer as a paddle against an abominable snowman for a course on Processing at UCLA taught by its founder Casey Reas.
4/20. I photographed a coworker's band called Tramp for the Lord before I began my shift at The Echo. A production company that runs a few of these music venues in Los Angeles pays me to work as a security guard, update the chalkboards and close the venue. Although a Ph.D. usually doesn't find work in security, I find the atmosphere and the confrontations inspiring.
5/20. My security work requires me to wear a GoPro to film fights and the process of throwing people out. My hyperawareness of the back patio and dark alleyways conjures up scenes of being encapsulated within the patio looking outward from wire fences that partially block and obstruct the lights outside.
6/20. Photography helps me make money. I have exhibited prints for sale through flea markets, galleries and Society6. The two types of visual poetry that I exhibit are in the form of sublime landscapes as shown on the right at Lot 613 in Downtown Los Angeles, and idioms contained within the letters of street signs as shown on the left at Browns Coffee in South East London.
7/20. I explored Griffith Park when I first moved to Los Angeles in 2011, which offers a rustic atmosphere amidst an urban environment. The dream-like ripple effect mimics the tectonic plates, movements against movements, of Los Angeles' grid pattern and comes from the result of blending layers of negative images that overlap with positive images of similar scenes on Photoshop.
8/20. I enjoy the simplicity of design from the motion created by low shutter speed images. The swirling umbrella, a photograph of mine taken at 1/30th of a second from a 35mm camera creates a modernist-like wave. The ocean-like ripple against the hazy shoreline of Laguna Beach creates a multi-directional scene of motion from the waves and the three seconds of camera movement.
9/20. My interests and academic pursuits in collage poetry are from the appropriation of found words, using writing like the waves in my blurry images. I incorporate photography and poetry together by encapsulating signs within the bigger bubbles of suburban fences and streets.
10/20. The idioms that are embedded from within the crops of my photographs of street signs show how these partial letters from enforcements of the law and private ownership can destabilize. These three images are cropped and framed 'Come On' from a real estate sign, 'Nope' from a no trespassing sign and 'End Ding' from a street sign.
11/20. Collaborations allow me to create compelling projects within the constraints of time, space and money. I made a music video to be published on VEVO with no budget that features my friend and musician Isaiah Garnica. In this particular video, the owner of Circus Liquor in North Hollywood would not let us shoot his proprietary neon clown until we told him that we were film students.
12/20. My friend Stephen Van Dyck who is an artist in Los Angeles organizes LA Road Concerts, which interconnects projects along the entirety of one road in Los Angeles, most recently Mulholland Drive. The words from my installation mimic the look of red and yellow traffic signs and include photographs taken of signs in Los Angeles that were as distressed as the utility pole holding them up.
13/20. My friend Mark So who is an artist in Los Angeles and I focused on failure as a queer anti-construction of the normative for an event at the Centre for Creative Collaboration in London called Queer the Space. The installation marries a dreary low-resolution video of shadows cast in a London cemetery with an out-of-sync ambient recording of rustling palm leaves from Los Angeles.
14/20. I like to edit, cut up and throw out every tangible piece of writing that artists like Mark So for example give me. The transparencies of a John Ashbery poem on the left are now placed in a non-sequential order, scanned and hanging as prints under three glass stands. The combined scans on the right taken from printer errors dating back to 1999 look like minimalist scrawls of 'asemic' or wordless writing.
15/20. My interest in exploring the digital effects of poetry stems from its vulnerability as a paper object. I have repurposed an old poetry zine that I have self-published in 2004 into hypertext. The hypertext, entitled The Route Throughout, is my original epic poem that is accompanied with abstract images and modified with clickable links to reveal its ephemerality as a print object.
16/20. I embedded my 60,000-word PhD dissertation into one 400 kilobyte html document. It includes hyperlink references to 300 footnotes, 20 images and 35 sections. My dissertation that explores and psychoanalyzes collage poetry is located under the research section of chrisgirard.net and, thanks to Kenneth Goldsmith, as a downloadable PDF document on Ubuweb.
17/20. A prototype of the practice component of my Ph.D. dissertation included a 'tombstone poem' filmed at Hollywood Forever Cemetery. This video poem collaged campy inscriptions of text found from the tombstones of dead celebrities and other public figures. These inscriptions alluded to my writings on ghostly and textual presences in collage poetry and post-structural discourse.
18/20. This image still from a presentation I gave at Goldsmiths outlined a 'tombstone poem' filmed at a legitimate old English cemetery within the framework of Max/MSP/Jitter. Lyes Belhocine, a former cohort of mine at UC Santa Cruz, helped me get this code sequentially running on Max/MSP/Jitter. This project runs 5-second film clips from four folders connected to four different panels on one screen.
19/20. These screenshots show three sets of four sequentially running film clips of tombstone inscriptions at Nunhead Cemetery in London. The four running clips create a ghost-like and omnipresence that fuses words and non-words composed of landscapes; and continuously cycles different clips with no beginning or ending. This project, projected on a screen, concluded the practice component of my Ph.D. at Goldsmiths in 2013.
20/20. For my Ph.D. research, I contextualized the audience as a collective and fluid body that looks at my projects online. 'Christop', the Twitter project, was a series of haiku-length poems written every day for 365 days. I used Twitter as the framework to track a digital audience reading poetry online. I got 2000 legitimate 'followers' and looked at the interactive digital audience through shares, follows and un-follows.
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