*¡O No Coronado!* is mentioned in Unthinking *Eurocentrism:
Multiculturalism and the Media*, by Ella Shoat and Robert Stam.  Ten years
ago I was watching a lot of this kind of thing, what you could look to
Defibrillator in Chicago for in terms of live performance.

But I wanted to post some highlights of the discussion list:

I remember some years ago Tony Conrad responding to a delimiting post with
"All art is crap!," the challenge being to see value in what you do, you
being responsible for that.  In that particular incident, he went on to say
"You can't!" to someone likely to be experimental-intolerant.

But many years ago Nick Zedd actually posted here.  I remember it coming in
series, completely sporadic, uncontainable, a dozen postings all
unanswered, all from Zedd.  It was crazy, it was great, at least if you
weren't trying to run an academic program.  More recently I have noticed
Zedd appears in the publication Wilhelm Hein puts out on his activities in

Caroline Koebel brought Baldwin as well as Stelarc and Schneeman to Buffalo
around 2000.  She was unstoppable, the primary inspiration for moving image
art as I understood it.  Baldwin screened *Spectres of the Spectrum* at
Hallwalls then, appearing in person.  That was how I became familiar with
his work.  When I read of the Coronado film I had just parted with Beatriz
Flores Gutiérrez, who studied at Buffalo around the same time.

Anyway, I visited Artist's Television Access in San Francisco myself in
2010.  I had submitted a film in application to the live performance art
event, *Pow!Pow!Pow!*, which was being held next door.  (My apologies for
all the red paint, Viracocha). That event opened with the arrival of a
large, shiny sedan.  It was early evening and Guillermo Gomez Peña appeared
with Roberto Sifuentes, who opened the trunk and dragged a beautiful young
woman out - white as Anglo-Saxon can be, passive and limp - wearing a huge
white wedding.  He dragged her slowly into the space and down the stairs.

it's interesting that California should have so much in common with
European practices, there being such dramatic differences as well.

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