ALBERTO PEPE
I am a postdoctoral researcher at Harvard University and co-founder of Authorea, a science startup. At Harvard, I am the in-house information scientist at the Center for Astrophysics, a fellow of the Berkman Center for Internet & Society and an affiliate of the Institute for Quantitative Social Science. I hold a Ph.D. in Information Science from the University of California, Los Angeles with a dissertation on scientific collaboration networks. I live in Brooklyn, NY. I was born and raised in the small wine-making town of Manduria, in Southern Italy.
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Chase is an installation by Liz Magic Laser on display at Derek Eller Gallery (615 West 27th Street, New York) from May 21 to June 26, 2010. With chase, Liz Magic Laser reinterprets Bertolt Brecht’s 1926 play Man equals Man. The project includes a feature-length video, an installation of ephemera from the production of chase as well as a theatrical set that serves as a backdrop for a live performance. Working in collaboration with nine actors, Laser staged Brecht’s play in the ATM vestibules of banks throughout New York City. Videotaping each actor’s performance separately, she edited the scenes, creating a complete version of the narrative. The element of estrangement in the original play is heightened through jump cuts and spatiotemporal shifts.  I was fortunate to be part of this project (in a very small way)! Inspired by a paper I wrote on the non-placeness of airports, Spencer Wolff and Liz Magic Laser asked me some questions about non-places. The text of the interview is on display at the Derek Eller Gallery.

Chase is an installation by Liz Magic Laser on display at Derek Eller Gallery (615 West 27th Street, New York) from May 21 to June 26, 2010. With chase, Liz Magic Laser reinterprets Bertolt Brecht’s 1926 play Man equals Man. The project includes a feature-length video, an installation of ephemera from the production of chase as well as a theatrical set that serves as a backdrop for a live performance.

Working in collaboration with nine actors, Laser staged Brecht’s play in the ATM vestibules of banks throughout New York City. Videotaping each actor’s performance separately, she edited the scenes, creating a complete version of the narrative. The element of estrangement in the original play is heightened through jump cuts and spatiotemporal shifts. 

I was fortunate to be part of this project (in a very small way)! Inspired by a paper I wrote on the non-placeness of airports, Spencer Wolff and Liz Magic Laser asked me some questions about non-places. The text of the interview is on display at the Derek Eller Gallery.

— 2 years ago