Thank you everyone who came out last night to the monthly insanity at Ventura’s 5x5x5 Show! Such a wild night! The crowd was on fire, the performer lineup was inspiring (looking at you, Pete Ippel), and I had the chance to unveil You’re So Nice, a new piece about the tendency to keep negativity bottled up. Nice was originally slated to be part of a one-man show I had hoped to have finished by now, but my grad school workload has been heavier than I’d hoped, which is also why these blog posts have been far and few between.

This is the first time I’ve mentioned school here, in part because my impending degree has little to do with aesthetics (at first glance, anyway), and I’ve wanted to reserve this space for more uber-right-brained activities. But it’s high-time I outed myself: my “day job” involves working in cybersecurity.

Security’s been a lifelong interest. Even as a kid, I always had my nose in books about spies, criminal capers, the FBI, lockpicking, etc. My technical background started in the mid-1980s when I taught myself programming and joined a hacker/phreaker gang as a young teen. After getting scared straight by my own FBI encounter, I began working above-board in the security field in the 1990s. Since then, I’ve worked as a consultant, security architect, and hacker for 4 Fortune 500 companies (and counting), with an average stay of 4.5 years at each.

It’s a challenging balance, pulling fish out of my performance-art-pants at night, then wearing a poker face at a job where I’m tasked with fending off thousands of online attack attempts per day from amateur and state-sponsored hackers alike. A few of my co-workers know of my double life, but like any good spook, I’ve tried to keep a low profile; patients might prefer not knowing that their doctor rolls around in broken glass on weekends.

My take, however, is that cracking systems can be a creative act — which you know if you read my novel — and so hackers/crackers are often a very creative bunch. The very term “hacker” denotes someone inventive, whether it be in computers, turning toasters into telephones, or some other wacky trade. It follows that in order to “deflect” these creative people from wreaking digital havoc, defenders must be creative themselves, and be capable of seeing what hasn’t been shown (or even imagined) yet. The best defenders are, in many ways, visionaries capable of “seeing” the road long before any dirt has been moved. This is why it pays to exercise the right-brain by embracing occasional insanity to foster new synaptic routes orthogonal to Security’s inbred patterns.

I’ll finish my Security M.S. degree this December, and I’m increasingly realizing ways I might “hack” the subject of cybersecurity itself, with lessons learned from performance art. Who says the two subjects can’t inform each other? Playable glitches have been intentionally introduced into video games as an art form, so why can’t performance art “infect” cybersecurity as a new approach, a new way of thinking? And the converse can also be true. Security is very much about detecting what is breached, hidden, or taken; why can’t these apply to the performer-audience relationship in some explicit ways as well—or even be the focus of a performance?

Frankly—and I’m wagering every artist/performer who works a corporate day job can sympathize—I’ve been nervous for years that potential employers might discover my other work, and shy away from hiring me—but no more. How can I publicly pursue the intersection of art and security if I hide the fact that they already intersect for me intuitively? And really, why shouldn’t art and technology trade inspiration? They both come from the same brain, after all, in my case.

So, dear potential employers, please hire me for my cybersecurity skillz…and consider the fish in my pants a bonus.

I’ll be performing some serious weirdness at this Friday’s Andy Kaufman-inspired Kauf-Drops Show at the UCB Theatre in Hollywood. Come for some post-Halloween insanity! UCB Theatre, Friday, November 6, 2015, 8PM. 5419 W Sunset Blvd. FREE! See you there!

I was 16 when I discovered performance artist (or really, über artist) Chris Burden. I’d opened a library book to a black-and-white photo of a young, shirtless man crawling across a nighttime parking lot that was covered in glittering, broken glass. Arms behind his back. Rolling side to side. Getting cut up. My god, I thought.

I turned the page. Another photo: the same man nailed to the back of a Volkswagen. Then another: the man in an art gallery after being shot in the arm by a .22 caliber rifle. Artist Chris Burden, the book said. Something clicked in my brain; at that moment, my idea of what art was—what it could be—was never the same.

I had read some of Conceptual Art’s history, but obviously not much about Performance Art, so the discovery of Chris Burden was a revelation. His work was the first time I’d encountered the idea of a body doing something uncodified—that is, not Dance, Drama, Oratory, Circus, but Other—as art. Chris Burden had, I realized, made up his own art form, and not just once, but over and over again. There was no precedent for his pieces; they’d fallen from the sky, alien, unpredictable, dangerous, primal, silent.

For me, his performances were about suffering. In every photo, Burden was alone, without an audience, and his face was neutral. Nothing forced. No emotional mask. Placid. An Everyman, with whatever pain or discomfort he was feeling suppressed, held captive. This resonated with me, with my own childhood cycles of pain—separation, dispair, guilt, pennance. Burden had been called a Body Artist, but in truth he was a Pain Artist: his suffering encouraged the projection of our pain, our sympathy, even our empathy, onto his waiting countenance.

Burden’s death on May 10, 2015 was a terrible blow, the loss of a hero. I never wanted to emulate him—his work was too perfect and unthinkably painful to emulate—but I chose the same alma mater as his, in part to be “near” him and his history—to perform in the same school art galleries where he had quietly bled, suffocated, cried, and discovered, alone.

When the John White Gallery invited me to perform at Ventura Art Walk in July, 2015, I decided to crawl shirtless across broken windshield glass, just as Burden had in his 1973 piece, Through The Night Softly. Despite my love of his work, I had never done a piece that would be intentionally damaging to me physically—but I needed to know firsthand something of what he had felt, of what he had experienced in his pain.

My wife KayDee and I drove to Ventura, laid out a 12-foot-long swath of broken glass in the gallery’s parking lot, and then lined it on both sides with Matchbox cars—an homage to Burden’s many car-related performances and sculptures.

It was a hot day—about 91 degrees. Sun was blazing.

The piece began. I came running out from behind the gallery and sprinted across the parking lot with a 100-pound steel car door over my head. I used the door as an umbrella, then a racetrack, a seesaw, a drum, and then a stage. I climbed onto it wearing three white tanktops, which I pulled off one by one and threw into the sky like birds, chanting “BURD, BURD, BURD.”

As I chanted “BURD” and pulled off the last shirt, a white seagull landed behind me on the asphalt. The audience and I were stunned. Time slowed. It was Burden, I know it was, in feathered psychopomp regalia.

I walked to the start of the glass farthest from the audience, lay down, and begin to crawl. The asphalt was searing—I later learned it had been between 130 and 140 degrees Fahrenheit—and the grinding of the glass shards was unbearable. I have multiple tattoos, so I know something about persisting through enduring pain, but this was like nothing I had experienced. My chest was being grinded, stabbed, burned—I was on fire with tunnel vision. I had wanted to keep a placid Burden face, but it was impossible, so I submitted to animal cries as I pushed forward, crawling but unable to use my hands on the melting asphalt, the glass cutting my chest like ribbons, brain screaming for me to stop. The white seagull watched me silently from the gallery roof—it was my confessional and our communion. Sweat ran into my eyes and my hands were shaking like crazy. More animal cries escaped—they were uncontrollable, cries for Burden, the cries he had refused to let out back in 1973.

When I reached the last of the glass, I crawled across asphalt, through the car door’s empty window, and emerged out the other side. I stood up, dizzy and weak and shaking from adrenaline. My chest was bright red, mottled, and cut from the asphalt and glass. I looked down and saw glittering shards sticking out of ribs and a line of blood streaming from my elbow.

I picked up a goodbye Matchbox car, kissed it, and chucked it onto the gallery’s roof—but I was too spent. The throw was short—the car rained down from the roof and landed back on the asphalt. I walked to it, kissed it, and threw it again. Again, too short. My arms and legs were rubber. I picked it up once more. Kissed it. Threw it. It flew up and over the roof’s peripet—then nothing. Silence. None of us heard the car land. It never came down—flown into the heavens.

Thank you, Chris Burden. April 11, 1946—May 10, 2015.

Photos of the glass crawl here.

And see a great recap of the piece on The Polina Hryn Show here.

Almost exactly one year since its debut, Two Performance Artists just tied for Silver in the Best New Voice category of the 2015 Independent Book Publishers Awards held in Austin, Texas last week, and copies are flying off the shelves! THANK YOU for this fantastic honor, IBPA! If you haven’t grabbed your copy yet, visit your local indie bookstore, or hit up Amazon! If you’d like a signed copy, we can make that happen, too—just drop me a line.

In other news, I’ve started work on a one-man show I hope to debut in galleries and fringe festivals in the near future, then maybe onto the road. It’s part performance art, part filmic, and very autobiographical, with surreal characters dredged from my unconscious, secrets of my day job as a computer hacker, conspiratorial theories, tales of ghosts, shamans, and more. That sounds like a lot, I know, and it is; I’m hoping to go meta with this in a kind of grand unifying theory of creatives, especially performance artists and their ilk. I’ve wanted to do a feature-length solo show forever, and cannot wait to unleash what’s been brewing.

Next: If you’re in the area of Ventura, California on May 1, 2015, come to the Namba Performing Arts Space for its 5x5x5 Show, where I’ll be unveiling a brand new performance art piece alongside famed performance artist John White, and many others. FREE! Located at 47 S. Oak St.

OMG, I am freaking out: Two Performance Artists was just named a top-3 Finalist in the 2015 Independent Book Publishers Association Awards for Best New Voice in Fiction! IBPA is the largest indie book publishing association in the U.S.—maybe even the universe!— so this is an incredible honor. Thank you, IBPA!

I’m cooking up more performances and shows for 2015, but I’ll admit it’s been a slow start, thanks to my starting graduate school in January. My creative stamina is slowly returning; it took a couple of months of getting accustomed to having a 2-foot stack of schoolbooks sitting on my desk at all times (my wife loves it!), but I’m almost back to normal.

When I haven’t had my nose buried in school assignments, I’ve been devouring everything I can find on pataphysics, which is giving me new perspective and ideas on performance. If you have any favorite links, or wanna discuss, post away!

Performance artists (like standup comedians) believe that performing within a day of January 1st is mandatory if you want to ensure good luck for the coming year.

I can’t remember who first handed me this superstition, but I obey it religiously, though, I’ll admit, sometimes with a last-minute scramble to find an available stage or mic with the year’s final hours dwindling. It doesn’t have to be a pro venue, mind you; performing three minutes in a watering hole or an alley for a few drunken cohorts earns you the Karma.

My 2015 started with a healthy dose of luck: the photo above was taken during Doppelganger, a performance to celebrate Year of the Sheep at the beautiful new ALoft Gallery in Ventura, California on January 2nd.

(I don’t always perform in front of mirrors, but when I do, I like to scribble WOLF on my back and dress up like a Dutch girl covered in cottonballs).

For me, the Sheep arrives right on time as a reminder of the Bruegel parades of blind leading the blind, with the most glaring example perhaps being the screaming pitch of shitty throwaway culture and memes now born, mindlessly traded, and then discarded at terrifying Internet speeds—and I’m as culpable as anyone for adding to the bright-n-shiny baubles that increasingly distract us from digging in to become something greater.

Forget mere loss of spirituality; I’m talking about the forgetting of something far more primal: what it feels like to be a living alien creature, evolved but still part animal, now imbued with the potential to imagine and dream, inventing rituals as we go, conversing with plants and stars, on a planet spinning through cold, empty space. Maybe I’m not alone. Do you feel it? Your primordial ancestors beckoning to you through your DNA to remember what magic feels like? The call to invent from the gaping maw of nothing instead of just consume?

I drove to Arizona last month. At the risk of sounding like a mid-life-crisis Burner cliché, the time I spent in that rugged expanse of desert emptiness pried me open with an irresistible call to reconnect with my primality and instincts that have been rendered barely detectable beneath the raging din of commercial, political, technological, and dilettante clutter.

Your list of resolutions for 2015 may be long, but if you’re inclined, maybe scribble somewhere near the top:

    Alone in the dirt with a drum and a bone.

Oh. My. God. Industry heavyweight Publisher’s Weekly just reviewed Two Performance Artists!

“Bright and capacious fiction… madcap… the chaos, danger, absurdity, and insanity keep ratcheting up.”

I wouldn’t change a word! Read the whole review here.

I’m crazy-excited to announce DICKTEMP, an art experiment to measure the temperature and humidity in my underwear 24/7 for the 30 days of November! Inspired by a dream I had about Matt Damon, check out DICKTEMP.COM for the current weather in my pants, or compare the daily graphs! And be sure to follow me on Twitter for the latest updates—it’s gonna be insane! #dicktemp

*** UPDATE: I just heard back from The Smithsonian—apparently the museum does not want to include my #dicktemp thermometer in its American Art collection. Maybe next time! ;)

*** UPDATE #2: Dicktemp is complete! What a crazy 30 days! Catch all the action in my #dicktemp video logs:

Intro	Day 10	Day 20	Day 30

I might’ve gotten a little carried away on Day 20 with all of that amazing fannybag fashion…hahaha. Here’s the greenscreen supercut just for you!

When I look back on 2014, all I see is a blur.

My wife and I celebrated our first wedding anniversary. My novel Two Performance Artists was finally published, closing a chapter on a surreal 15-year journey. Our cross-country book tour from LA to NY was a success, with encouraging bookstore turnouts, performances in 18 cities, and 2 book awards along the way. “Kidnapping As Art,” my survey of artists who’ve kidnapped audiences as performance art, was picked up by MIT Press’s Journal of Performance And Art for publication in January of 2015. Headlining the final 5x5x5 show at the Sylvia White Gallery in Ventura—one of California’s longest-running performance art series in recent memory—was a humbling honor. And of course, learning I’d been plagiarized by Shia LaBeouf—and then having my revenge—was the most wild ride of all.

I don’t know if I’ve ever been more busy—and yet, somehow I’ve still got that nagging feeling that this train is only just starting to pick up speed—that all of the dreams that came true in 2014 are the wood I now need to be shoveling like crazy into the firebox, stoking the flames even harder than before to maintain momentum. But with the past year feeling ephemeral and so long ago already, the wood vanishes like smoke on my shovel, and fear sets in that the engine could start to slow.

While on the book tour, I had the chance to chat with Heather Kapplow, a journalist and artist writing for the Boston art journal Big Red & Shiny. She asked: how are my modes of writing and performance different from each other? Does writing feel different from making performance? Do these modes ever interact?

I’d never considered these questions before. My partial answer:

I feel like a writer when writing articles, short stories and the like, with a focus on delivering clear throughlines of thought on the page with the typical grammar, syntax, and structures expected by readers.  When I’m working on a performance art piece, by contrast, I don’t ‘feel’ like a writer; I don’t really think of the writing as separate from the other elements in the performance—the use of objects, sound, physical movement, etc.  Words are used for their literal meaning, but also for their formal qualities.  In that mode, I see myself as ‘generating’ text (as opposed to crafting it), which feels no different than, say, choreographing how I might drag a fish across the floor. I don’t hold myself to any strict grammatical, syntactical, or stylistic rules, except for whatever is appropriate for the piece, freeing me up to allow the elements to inform each other, and hold dialogs with my subconscious.  The hissssss of a fish being dragged across concrete might suddenly seem to contrast best with text that’s heavily assonant—that is, the physical action helps ‘write’ what text should accompany it.

Heather’s piece breaks new ground in the liminal realm where feeling, intuition, writing, and performance intersect. For the whole article, plus more of her interview with me, head over to Big Red & Shiny.

Finally, I had the chance to perform Ouroboros, a new work at the Sylvia White Gallery in Ventura before the gallery shuts its doors for good this summer. The space has been home to the 5x5x5, an incredible performance series that’s featured diverse performance artists and others from around the world for the past 5 years, all curated by performance art luminary John M. White. The game-for-anything Ventura audiences always came out in force—sometimes 50, 100, 150 at a time, packing the gallery to the gills—with many spectators being artists, musicians, writers, poets, critics, or curators themselves. The 5x5x5′s final show was a real marathon, featuring almost 20 performers with a record turnout, proving handily that performance art ain’t dead.

. . . Which is why I’m excited to write that John has found a new home for the 5x5x5! It’ll start up again in September, 2014 at a new Ventura art space. If you’re a performance artist and would like to apply for a 5-minute slot, contact me with your info!