https://archerporter.xyz L. Archer Porter Sun, 08 Jan 2023 17:57:27 +0000 https://archerporter.xyz en https://archerporter.xyz/Main Wed, 13 Jul 2022 02:27:43 +0000 L. Archer Porter https://archerporter.xyz/Main About&nbsp; &nbsp;|&nbsp; &nbsp;Contact&nbsp;︎ L. Archer Porter June 2026 Book Review, Dance Chonicle <img width="200" height="286" width_o="200" height_o="286" data-src="https://freight.cargo.site/t/original/i/1a71c69a6e2b1279952f7eac64248a15cc62920247ca98ccc2f662f5728f0ab1/ldnc20.v049.i01.cover.jpg" data-mid="250803108" border="0" src="https://freight.cargo.site/w/200/i/1a71c69a6e2b1279952f7eac64248a15cc62920247ca98ccc2f662f5728f0ab1/ldnc20.v049.i01.cover.jpg" /> Porter reviews Addie Tsai’s book, (Straight) White Men Can’t Dance. In the book, Tsai traces the "white man dance" trope—from Dirty Dancing to Napoleon Dynamite—showing how the figure of the awkward white male dancer works to mask and reproduce racialized and gendered power, even as it appears harmless. Recommended reading for advanced undergraduates through faculty. Read the full review here. May 2026 Invited Presentation, Ownership &amp; Ontology <img width="1618" height="1346" width_o="1618" height_o="1346" data-src="https://freight.cargo.site/t/original/i/bab208ff061969b1bc20fb1d3ecadd19f903552575f350bb0c896b93f10dbe27/Screenshot-2026-06-17-at-10.41.52AM.png" data-mid="249548373" border="0" src="https://freight.cargo.site/w/1000/i/bab208ff061969b1bc20fb1d3ecadd19f903552575f350bb0c896b93f10dbe27/Screenshot-2026-06-17-at-10.41.52AM.png" /> As part of the Ownership and Ontology of Internet Dance Research Group, Porter presented new research on dance on the blockchain. In this talk, Porter draws on digital ethnographic work that began in 2021 to tease out an emerging social and economic life of dance.&nbsp; Mar 2026 Press, The Page 99 Test <img width="1560" height="1460" width_o="1560" height_o="1460" data-src="https://freight.cargo.site/t/original/i/06dabf646425f018a525906641e64f11002278d124ceecba89211d4937f17535/Screenshot-2026-03-13-at-2.11.38PM.png" data-mid="246009613" border="0" src="https://freight.cargo.site/w/1000/i/06dabf646425f018a525906641e64f11002278d124ceecba89211d4937f17535/Screenshot-2026-03-13-at-2.11.38PM.png" /> Homebodies was put to “The Page 99 Test.” This test is based on Ford Madox Ford’s proposition to "open the book to page ninety-nine and read, and the quality of the whole will be revealed to you." Read more here to see if the book passed the test. Feb 2026 Monograph Release, University of Michigan Press <img width="368" height="552" width_o="368" height_o="552" data-src="https://freight.cargo.site/t/original/i/ca8e44ffd78cebde7d80149b5a3b4e2c0018aa5eec2289d47456bac3b101369c/Cover-Image.jpg" data-mid="245085007" border="0" data-scale="100" src="https://freight.cargo.site/w/368/i/ca8e44ffd78cebde7d80149b5a3b4e2c0018aa5eec2289d47456bac3b101369c/Cover-Image.jpg" /> Homebodies&nbsp;is officially out with the University of Michigan Press. The book explores how everyday dance and performance circulate online, tracing how intimacy and performer subjectivity are reshaped through platforms like Instagram. Moving between performance studies, media theory, and close readings of digital dance media, Homebodies asks what it means to perform “at home” in public—and how identity and affect become currencies in the attention economy. Check it out here. Dec 2025 Invited Presentation, Shanghai Theatre Academy <img width="2481" height="3509" width_o="2481" height_o="3509" data-src="https://freight.cargo.site/t/original/i/e60cdbc25d66edb00f08e5fac5098fd8007435e2f22b24c408f977f406184a21/Booklet2025-International-Young-Scholars-Dance-Forum-1.png" data-mid="241876294" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/e60cdbc25d66edb00f08e5fac5098fd8007435e2f22b24c408f977f406184a21/Booklet2025-International-Young-Scholars-Dance-Forum-1.png" /> Joined by scholars across the globe, Porter presented the paper, “From Home to Screen: The Aesthetics of Intimacy in Online Dance Cultures,”&nbsp;at the 2025 International Young Scholars Dance Forum. The presentation examined the rise of home dance videos online, situating them within global conversations about authenticity and cultural exchange.Jun 2025 Presentation, Dance Studies Association <img width="2000" height="1294" width_o="2000" height_o="1294" data-src="https://freight.cargo.site/t/original/i/5df6f598d5a6583eca9940136c5585de220b3c6ba22d022f30f767e8e2687a14/Indeterminate-States-Bodies--Fields--Praxis-George-Washington-University--Washington-DC-USA-June-25-29--2025.jpeg" data-mid="237983486" border="0" src="https://freight.cargo.site/w/1000/i/5df6f598d5a6583eca9940136c5585de220b3c6ba22d022f30f767e8e2687a14/Indeterminate-States-Bodies--Fields--Praxis-George-Washington-University--Washington-DC-USA-June-25-29--2025.jpeg" /> Porter presented a paper, “Dancing Between Data Points: Identity and the Limits of Digital Memory,” at the 2025 Dance Studies Association conference. Mar 2025 Publication, communication +1 <img width="1870" height="2420" width_o="1870" height_o="2420" data-src="https://freight.cargo.site/t/original/i/ebc19a5d19f2f6ea5d87194bbcec22a0ebfca901d06f62e53419bc4f9a1e0ad6/Front-page_Choreographies-of-the-digital-everyday_communication-1_porter_Page_01.jpg" data-mid="227643192" border="0" src="https://freight.cargo.site/w/1000/i/ebc19a5d19f2f6ea5d87194bbcec22a0ebfca901d06f62e53419bc4f9a1e0ad6/Front-page_Choreographies-of-the-digital-everyday_communication-1_porter_Page_01.jpg" /> Porter’s article, featured in the Media Aesthetics special issue of communication +1, unpacks the theory of intimaesthetics—the aestheticization of intimacy in self-produced media online. Exploring home dance videos on Instagram, Porter examines how performers navigate digital platforms through choreographies of body, space, and media.Access the paper here. Feb 2025 News of Publication, University of Michigan Press <img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/c0e7cedeaa131d9cedc64acdef8876976eb58d8b363b16ff95971fdbcaf054b7/FF_cellphone_photograph_art_student_dancing_in_downtown_loft_ap_87f2c341-dfdf-4909-ae55-0afa6a35cbb1.png" data-mid="177977101" border="0" src="https://freight.cargo.site/w/1000/i/c0e7cedeaa131d9cedc64acdef8876976eb58d8b363b16ff95971fdbcaf054b7/FF_cellphone_photograph_art_student_dancing_in_downtown_loft_ap_87f2c341-dfdf-4909-ae55-0afa6a35cbb1.png" /> Porter’s monograph, Homebodies: Performance and Intimacy in the Age of New Media is now in production. In this book, Porter examines the phenomenon of home dance videos on new media, revealing the simultanous performance of intimacy, and the platform’s control over personal data. See more here. Apr 2024 Creative Project, UNL <img width="640" height="799" width_o="640" height_o="799" data-src="https://freight.cargo.site/t/original/i/03dd1298520b61c447cec82093a0bd5e21f07648643af0bb7d42e3872d72f75d/436346759_1140316940720381_8852027462729620763_n.jpg" data-mid="219903229" border="0" src="https://freight.cargo.site/w/640/i/03dd1298520b61c447cec82093a0bd5e21f07648643af0bb7d42e3872d72f75d/436346759_1140316940720381_8852027462729620763_n.jpg" /> Photo: hdrinc Archer Porter presents a dancefilm in the Evenings of Dance concert at the Carson Theater (Lied Center for Performing Arts), Lincoln, NE. The piece, entitled Domicile, situates three dancers in Porter’s own home and animates themes of both intimacy and mediatization, privacy and publicity. The screening of the film integrated live performance elements to further complicate the temporality of the work. Jun 2022 Degree Awarded, UCLA <img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/769c222ceb85d84cec7e426f2fdc1ccb4b4d9a05e0d829933781c69773fd8270/FF_cellphone_photograph_old_woman_dancing_in_her_downtown_loft__acaec087-dbdd-4926-8719-218bcc66260c.png" data-mid="149474624" border="0" src="https://freight.cargo.site/w/1000/i/769c222ceb85d84cec7e426f2fdc1ccb4b4d9a05e0d829933781c69773fd8270/FF_cellphone_photograph_old_woman_dancing_in_her_downtown_loft__acaec087-dbdd-4926-8719-218bcc66260c.png" /> Archer Porter graduates from the Department of World Arts and Cultures/Dance at UCLA with a Ph.D. in Culture and Performance. Her dissertation, entitled The Domestic Stage, unpacks the production, circulation, and consumption of home dance videos on Instagram from 2010 to 2020.&nbsp; Jul 2021 Publication, IJSD <img width="1700" height="2200" width_o="1700" height_o="2200" data-src="https://freight.cargo.site/t/original/i/15a53b3030cc36a47f8776317b9344e0b7590707e69a157f2cbcf1cbfd6891b7/IJSD_Homebody-In-During-Crisis_Page_01.jpg" data-mid="149667727" border="0" src="https://freight.cargo.site/w/1000/i/15a53b3030cc36a47f8776317b9344e0b7590707e69a157f2cbcf1cbfd6891b7/IJSD_Homebody-In-During-Crisis_Page_01.jpg" /> Porter’s article, “Homebodies In/During Crisis” appears in the International Journal of Screendance. In the paper, Porter theorizes the notion of the homebody as a convergence of the habitus and the habitat, and then situates the homebody in the cultural and&nbsp; historical moment of the Covid-19 pandemic. Article available here. Mar 2021Presentation, OSU (Virtual) <img width="1403" height="795" width_o="1403" height_o="795" data-src="https://freight.cargo.site/t/original/i/1e9f5bd759ca1a943104f28444434df530646326bd843871f4b01e67c9060e00/this-is-where-we-dance-now.png" data-mid="149668451" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/1e9f5bd759ca1a943104f28444434df530646326bd843871f4b01e67c9060e00/this-is-where-we-dance-now.png" /> Porter virtually presents a paper at This is Where We Dance Now, an international, multidisciplinary symposium hosted by Ohio State University. In her presentation, Porter outlines the theory of the homebody, a figure whose paradoxes are exacerbated through the Covid-19 pandemic. Feb 2021 Publication, Bloomsbury Handbook of Dance and Philosophy <img width="360" height="520" width_o="360" height_o="520" data-src="https://freight.cargo.site/t/original/i/fc1ee1f26fd33936d3b94a3895517535e7490981d514b12c14fd74fcfe77758b/bloomsbury-handbook_cover-image.jpeg" data-mid="150331575" border="0" src="https://freight.cargo.site/w/360/i/fc1ee1f26fd33936d3b94a3895517535e7490981d514b12c14fd74fcfe77758b/bloomsbury-handbook_cover-image.jpeg" /> Joined by theorists in the fields of performance studies, dance studies, and philosophy, Porter contributes a chapter to a Bloomsbury anthology on the intersection of dance and philsophy. Her essay, “mEANING rEMIX: Ambivalent Readings of Marie Chouinard’s bODY rEMIX/gOLDBERG vARIATIONS,” deconstructs two separate readings of a 2005 work by Compagnie Marie Chouinard to highlight the critical potential of ambivalence.Publication available&nbsp;here. Sep 2020 Publication, TDR: The Drama Review<img width="300" height="225" width_o="300" height_o="225" data-src="https://freight.cargo.site/t/original/i/1b9e98a7aaa86585cfd25a699eccae39ba3f0ecf4028d9200c477dd155c24754/m_dram.2020.64.issue-3.cover.jpg" data-mid="150369020" border="0" src="https://freight.cargo.site/w/300/i/1b9e98a7aaa86585cfd25a699eccae39ba3f0ecf4028d9200c477dd155c24754/m_dram.2020.64.issue-3.cover.jpg" /> Porter reviewed Isobel Harbison’s book, Performing Image (MIT Press) for the Fall issue of TDR.Access the review here. May 2020 Publication, Performance Research&nbsp; Journal <img width="240" height="314" width_o="240" height_o="314" data-src="https://freight.cargo.site/t/original/i/cffb8952e6ab2fca2709766e6e382a26320716433b09e916a4ce542daf935ccc/025.1_front_on_amateurs_240x334.jpg" data-mid="149948306" border="0" src="https://freight.cargo.site/w/240/i/cffb8952e6ab2fca2709766e6e382a26320716433b09e916a4ce542daf935ccc/025.1_front_on_amateurs_240x334.jpg" /> Porter’s article, “The Influence of Intimacy: Amateur Performance on New Media’s Neoliberal Stage,” appears in Performance Research Journal. In the article, Porter examines the commercialization of performance, intimacy and domestic authenticity in and through new media. She considers the online productions of one amateur dancer, Donté Colley, who becomes a “micro-celebrity” after posting and uploading to social media a series of self-produced home dance videos. Article available here. Oct 2019 Presentation, Fan Studies Network - North America Conference <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/bcf3e2b6053122ef0c4a3b2a0cea92057f149b56cda68f575b92cf05effb0449/310a0562-72f3-4845-873c-470b71ebac46.png" data-mid="150334208" border="0" src="https://freight.cargo.site/w/1000/i/bcf3e2b6053122ef0c4a3b2a0cea92057f149b56cda68f575b92cf05effb0449/310a0562-72f3-4845-873c-470b71ebac46.png" /> At a Fan Studies Network conference (DePaul University, Chicago), Porter presents on the phenomenon of mediatized homeage dances, self-produced in the domestic setting, but circulated on social media.&nbsp; Aug 2019 Presentation, Dance Studies Association <img width="2550" height="3300" width_o="2550" height_o="3300" data-src="https://freight.cargo.site/t/original/i/094d5141f02db46a76d4192485691a9f9f54ea3d0e805a15a0feafd493534bc1/DSA_2019_Conf_Program_FINAL-1.png" data-mid="150369022" border="0" src="https://freight.cargo.site/w/1000/i/094d5141f02db46a76d4192485691a9f9f54ea3d0e805a15a0feafd493534bc1/DSA_2019_Conf_Program_FINAL-1.png" /> Porter joins dance studies colleagues at the annual DSA conference in Evanston, IL. Here, she presents a paper on how new media denizens engage in communities of belonging following the death of a beloved icon. These “moving memorials” articulate how, on the other hand, participatory culture is embodied and, on the other hand, grief is algorithmic. Jul 2019 Presentation, Performance Studies International <img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/04afbad251402552b788e7c0c8c138e530e8b74f2dbe830ec177b9454c0639c6/FF_cellphone_photograph_art_student_dancing_in_downtown_loft_ap_002af56c-67f9-42aa-b671-d9e78bd848bf.png" data-mid="150781594" border="0" src="https://freight.cargo.site/w/1000/i/04afbad251402552b788e7c0c8c138e530e8b74f2dbe830ec177b9454c0639c6/FF_cellphone_photograph_art_student_dancing_in_downtown_loft_ap_002af56c-67f9-42aa-b671-d9e78bd848bf.png" /> Joined by international scholars, Porter ventures to Calgary to present on the overarching theory of her dissertation: intimaesthetics. She developed this theory after studying thousands of home dance videos on Instagram, and analyzing them&nbsp; according to different orientations toward the camera. © https://archerporter.xyz/About Sat, 20 Aug 2022 18:56:22 +0000 L. Archer Porter https://archerporter.xyz/About ︎︎︎ About L. Archer Porter Archer Porter interrogates the social, cultural, and economic life of performance in digital culture. She holds a PhD in Culture and Performance from UCLA and MA in Dance Theories and Practices from UNC-Greensboro. In her first monograph,&nbsp;Homebodies: Performance and Intimacy in the Age of New Media (University of Michigan Press, 2026), Porter examines the politics of everyday media production by amateur performers, grounded in the study of thousands of home dance videos online. Outputs of research have been published in Documenta,&nbsp;Performance Research Journal, communication +1,&nbsp;International Journal of Screendance, Bloomsbury Handbook on Dance and Philosophy,&nbsp;and Etúdes. Porter is Visiting Professor of Digital Humanities at University of Texas at Dallas.Contact Archer here. https://archerporter.xyz/Portfolio-Home Sun, 08 Jan 2023 17:57:27 +0000 L. Archer Porter https://archerporter.xyz/Portfolio-Home ︎︎︎︎ Portfolio Project @chorporeal Project @choporeal is an ongoing digital ethnography of dance on the blockchain. It includes, on the one hand, an investigation of dance artists in the Global South leveraging blockchain technology in their creative practice and, on the other hand, a critical examination of Non-Fungible Token (NFT) culture through my own creative pursuits. In terms of the former, I study dialogue on Twitter and Discord involving communities of dance NFT artists, and interview artists who represent, hail from, or currently practice in the Global South. In terms of the latter, I create short-form videos that I mint into NFTs as a way to understand the economies of production, circulation, and consumption of such digital objects. I minted Prelude to Falling/Not Falling (2021), Hair (2021), and&nbsp; Unboxing (with Britney) (2021) on the Tezos blockchain. I also minted Falling/Not Falling (2021) on the Ethereum blockchain. Homebodies The moving body in the domestic environment is imbued with critical potential—a potential that often goes untapped due to this body’s seemingly mundane occupation. Particularly when mediatized and circulated across the screens and feeds of new media, this figure serves as an emblem for the 21st-century slippages in privacy and publicity. Defined through the intimacies of the home in which it moves, yet subject to mass viewership, commercial surveillance, and the determinations of algorithms, the homebody exposes many conundrums of contemporary digitial culture. Indeed, the homebody is both private and public, unseen and hypervisible, intimately personal and publicly exhibitionist. This book draws our attention to the marvelously paradoxical figure of the homebody and its choreographies of intimacy, through the study of thousands of home dance videos on Instagram. The pages below capture the premise, scope, and scale of the book. ︎︎︎ More Info <img width="2372" height="1652" width_o="2372" height_o="1652" data-src="https://freight.cargo.site/t/original/i/bb9d0c4837e189d1fdb87adc4b1b4c974cf8dab80b442eb987d798cfcfb07ce3/Screen-Shot-2022-04-28-at-7.32.20-PM.png" data-mid="164003661" border="0" src="https://freight.cargo.site/w/1000/i/bb9d0c4837e189d1fdb87adc4b1b4c974cf8dab80b442eb987d798cfcfb07ce3/Screen-Shot-2022-04-28-at-7.32.20-PM.png" /> <img width="2786" height="1902" width_o="2786" height_o="1902" data-src="https://freight.cargo.site/t/original/i/3c6389f1ce9c201fa2d11bad4ad1f765fb92101cb27753ae0dd5b1be35dd180a/Screen-Shot-2022-04-28-at-7.39.05-PM.png" data-mid="164003662" border="0" src="https://freight.cargo.site/w/1000/i/3c6389f1ce9c201fa2d11bad4ad1f765fb92101cb27753ae0dd5b1be35dd180a/Screen-Shot-2022-04-28-at-7.39.05-PM.png" /> <img width="2784" height="1664" width_o="2784" height_o="1664" data-src="https://freight.cargo.site/t/original/i/5d858adfc8f722e67b44b69d7783c9dbabb758d426663d4d1caaab43ace0d726/Screen-Shot-2022-04-28-at-8.58.10-PM.png" data-mid="164003663" border="0" src="https://freight.cargo.site/w/1000/i/5d858adfc8f722e67b44b69d7783c9dbabb758d426663d4d1caaab43ace0d726/Screen-Shot-2022-04-28-at-8.58.10-PM.png" /> <img width="3024" height="1964" width_o="3024" height_o="1964" data-src="https://freight.cargo.site/t/original/i/3231c055b55901dcb549ae49f126310c44f869d3f3d6c0564dffb2038f0bbe47/Screen-Shot-2022-11-13-at-9.15.56-PM.png" data-mid="164003666" border="0" src="https://freight.cargo.site/w/1000/i/3231c055b55901dcb549ae49f126310c44f869d3f3d6c0564dffb2038f0bbe47/Screen-Shot-2022-11-13-at-9.15.56-PM.png" /> Performance Panopticon This project consists of a theoretical treatise on the gaze and spectatorship in dance performance alongside a series of three performances that explore the themes of that treatise. Influenced by Foucauldian perspectives on surveillance and docile bodies, the three dances utilized cameras in different ways to trouble the relationship between performer and spectator. The first performance was a live-streamed trio in a domestic setting with the audience in a different location. The camera was situated outside the window of the home so to seem as if the viewers were peeking in the home. The second performance incorporated hidden cameras on the audience with projected video feeds of those recordings, so that the audience was watching the dancers, while also looking at themselves. The third performance was a live-stream of the black box theater on a Tuesday afternoon. Anyone could enter the space to participate in the performance, all while a projection of the performance appeared in the lobby of the building. Collectively, these three performances and the accompanying essay examined the ontology of performance and its contract between audience and performer. This contract hinges both on an “ocular hegemony” and “attention economy.” &nbsp;