The Projectionist uses Queer Film Action and multiple projections to explore the varieties of ways that projected images can help shape an understanding of our presence. From Aristophanes' hymn to "Double Love" in Plato's Symposium, to the implication of the audience in the viral political fears that plague America, Inc., The Projectionist attempts to unnerve, annoy and prod its viewers to the point of power in the present and turn away from the screens. This presentation at MIX 24 includes Jerry Tartaglia, Eduard Dumitrache, John Schlegel & Abdul Alshagmom.

Set to an original soundtrack, GLANDS 4.0 comprises two costumed humanoids gyrating awkwardly before a video projector in a darkened room. The 12-minute performance piece is a campy exploration of bodily "betrayal" (i.e., mechanisms of puberty, illness, aging) and how emotions, feelings and thoughts are embodied within these biological processes. The resulting dance is a way to deal with this discomfort and confusion, and demonstrates the value of play and their favorite emotion, laughter through tears.

Presenting . . . is an improvisational performance that involves digital audio, a live video feed and manipulated 16mm video loops, revealing images of sexual, medical and legal exploitation, juxtaposed with images of queer spaces, parades and protests, gay bars and drag shows, erotica and surgery. Prisms, mirrors and lenses distort the 16mm film images, sending them beyond the standard perimeter of the screen. The live video feed is run through a laptop, manipulated with Max/Msp/Jitter and projected alongside the film. The soundscape for this performance� which explores the relationship between gender identity, presentation, and the body/ self within the queer community�generates a fractured narrative by combining documentary style accounts, medical and legal journals, statistics, news clips and historical retellings, with wild sound from various locations related to the subject matter. Audience members will be invited to insert themselves into the visual narrative by stepping into the live feed, presenting their queer bodies in their chosen manner. These bodies will be woven into the ongoing improvised narrative, providing the opportunity to actively participate, express and alter the presentation of our queer forms.

Eight performers speak to intimacy, community, trust, and genderless beauty by inserting themselves into two pink spandex balls, ever-morphing beyond the human form into giant amoeba-like entities.

With appropriated video footage projected onto their naked bodies, they stand bare to the audience, asking for forgiveness, freeing themselves from the guilt of their past mistakes, from long held secrets. They ask the viewers to consider their own, and to use art to practice the honesty, forgiveness, and radical acceptance we could not experience in our day-to-day lives.