Sam Gould’s residency will result in a publication and its reading. These residency contents will allude to Gould’s Jewish identity and his recent cancer diagnosis and be the raw material for Episode 1 of EBS. This episode looks towards how centering oneself within the body, across bodies, can begin a process of, as Queer activist Harry Hay puts it, a “subject-to-subject consciousness.”

Episode 1 of EBS focuses on the intimacies of crisis, and the tactical necessities of an expanded interpretation of publication and the social life of reading in the midst of upheaval that includes the body and body politic, its possibilities, and its inevitable disposability.

ABOUT EMERGENCY BROADCAST SYSTEM

A sprawling, continuously evolving, television program, Emergency Broadcast System (EBS) mines multiple eras of independent media strategies and community access platforms to create time and space for slow, sloppy, emergent, and urgent considerations on the here and now of culture and power from below.

Taking inspiration from the early days of the Sony Porta-Pack and the schemes of Radical Software’s Alternative Television Movement, street documentarians like Dee Dee Halleck and Paper Tiger Television, as well as Glenn O’Brien’s TV Party and all manner of schizo-subversive transmissions, EBS acts, in accordance to Gertrude Stein’s dictum, “as if there is no use in a center,” in order to document, and examine, a counter-America in the midst of social transformation.

A horizontal platform, EBS has no hosts, no set, no style other than No Style. An assemblage of technologies, perspectives, individuals, locations, and points of view, EBS highlights the conversations of those who gather around its transmissions, the diverging viewpoints of those in proximity to its process, and the vistas and social ecologies upon which these tapings occur.

Poetics, politics, music, critical discourse, numbness and exaltation, cooking, and more. EBS is like a morning news program coming down from a deeply revelatory acid trip amongst close friends. Or, possibly, a nature show documenting the complex social landscape of the human animal.


ABOUT EMERGENCY BROADCAST SYSTEM

A sprawling, continuously evolving, television program, Emergency Broadcast System (EBS) mines multiple eras of independent media strategies and community access platforms to create time and space for slow, sloppy, emergent, and urgent considerations on the here and now of culture and power from below.

Taking inspiration from the early days of the Sony Porta-Pack and the schemes of Radical Software’s Alternative Television Movement, street documentarians like Dee Dee Halleck and Paper Tiger Television, as well as Glenn O’Brien’s TV Party and all manner of schizo-subversive transmissions, EBS acts, in accordance to Gertrude Stein’s dictum, “as if there is no use in a center,” in order to document, and examine, a counter-America in the midst of social transformation.

A horizontal platform, EBS has no hosts, no set, no style other than No Style. An assemblage of technologies, perspectives, individuals, locations, and points of view, EBS highlights the conversations of those who gather around its transmissions, the diverging viewpoints of those in proximity to its process, and the vistas and social ecologies upon which these tapings occur.

Poetics, politics, music, critical discourse, numbness and exaltation, cooking, and more. EBS is like a morning news program coming down from a deeply revelatory acid trip amongst close friends. Or, possibly, a nature show documenting the complex social landscape of the human animal.

ABOUT SAM GOULD

Born in New York City in the mid-1970’s, Sam Gould was the co-founder and editor of Red76, an expanded publication that materialized in Portland, Oregon, in the early 2000s. Instrumentalizing ideas around publication as an act of public making, Gould's work manifests publics through the implementation of ad-hoc educational structures and discursive gatherings. While these actions are often situated in what is called “public space,”—such as street corners, laundromats, taverns, and the like—the pedagogy of their construction is meant to call into question the relationships, codes, and hierarchies embedded within these landscapes from one incident of publication to the next.

Gould has taught within the graduate department for social practice at the California College of the Arts and the School of the Museum of Fine Arts, Boston. He has written, as well as lectured extensively within the United States and abroad, on issues of sociality, education, and encountering the political within daily life. His most current platform, Beyond Repair, functions as a site of questioning within the 9th Ward of Minneapolis. Beyond Repair is a publication of Tools in Common, the expanded publishing house of which Gould is the founder and editor.