THE ENSEMBLE OF "I'M VERY INTO YOU" PERFORM NOT ONLY ON STAGE IN FRONT OF MICS, BUT ALSO IN FRONT OF A CAMERA THAT PROJECTS LIVE TO TWO PERPENDICULAR PROJECTION SCREENS. IN FRONT OF CAMERA. PICTURED: SARAH STERLING, MFA’21   CREDIT: HALLIE RIDDICK

THE ENSEMBLE OF "I'M VERY INTO YOU" PERFORM NOT ONLY ON STAGE IN FRONT OF MICS, BUT ALSO IN FRONT OF A CAMERA THAT PROJECTS LIVE TO TWO PERPENDICULAR PROJECTION SCREENS. IN FRONT OF CAMERA. PICTURED: SARAH STERLING, MFA’21

CREDIT: HALLIE RIDDICK

When McKenzie Wark, an Australian media theorist (“A Hacker Manifesto”) and Kathy Acker, an experimental feminist writer (“Blood and Guts in High School”) met in a Sydney bookshop in 1995, they shared a passionate, three-day, hotel room romance. Acker returned to San Francisco, but she and Wark continued to court each other via email—writing to each other multiple times a day, during a very volatile two-weeks.

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