Thanx!

FEED.art before your Feast!

The 3rd Annual Thanksgiving Eve at FEED Media Art Center

Artists & Collectives include:

iki nakagawa & Nora Almeida

ZPHINKTERR

Nick M. Daniels

Ethan Hayden

Colin Tucker

Alex Anthes

Pulp! Video Lab

Vinyl & Flow

...and more TBA!

11/26/25 - 5pm to 10 pm ::: Home for the holiday in Erie? Celebrate Thanksgiving Eve with artists from around town, Pittsburgh, Toronto and NYC and enjoy movement, media, music, and mixed media magic in the heart of Erie's Downtown ARTs District. FEED welcomes you to experience visionary artists celebrating themes of home and family ,preserving the beauty and health of our cherished waters, upending western classical music conventions, and the juxtaposition of noise and rap.

Tickets.ErieReader or just come down to 1307 State

Can't make it to Erie? Catch the liveFEED on FEEDart.bandcamp

FEED Media Art Center Erie News Now The Erie Community Foundation@highlight

iki nakagawa & Nora Almeida: Watershed Activation

Almeida and nakagawa create an installation of sights, sounds and stories gathered during their waterfront stewardship volunteering—including trash and highly competitive species removal. The artists activate these archives with movement and media performance while engaging guests in dialog about living with nature and water.

Watershed Activation is an improvisational performance devised by Nora and iki that investigates relationships to material, memory, each other, site / non-sites, and other living beings. They use authentic movement, scores, and play to activate material collected and generated fromour work at the Creek, and to channel and spread sensations, memories, and energy. Material includes garbage, textiles, slides, video, voices, texts, as well as experiences, memories, and sensations held in our bodies. 

https://openwaterhere.com

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ZPHINKTERR makes nostalgia musiks to get through this existential crisis. Merging distorted noisy hip hop with punk and electronic to create a weird ass detuned synthy, samply collage music.

Genre: Noise Rap, Electronic, Punk, Experimental

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Ethan Hayden

l0op d1sconnect MAin 2-9970

disklavier and projections

l0op d1sconnect MAin 2-9970 is a generative composition for disklavier and projections. The piece arose from a fascination with analog telecommunications and their similarity to the pulsing hammers inside a piano. It is generated by Markov chains and other semi-stochastic processes that produce the piano part and modify the visuals--historic films demonstrating the use of telecommunication equipment, along with animations of dancing Arabic numerals--in real time.

l0op d1sconnect MAin 2-9970 was first performed at FEEDback Media Fest in 2025.

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Nick M. Daniels is a celebrated Pittsburgh-based choreographer, multimedia artist, and the founding Artistic Director of The D.A.N.A. Movement Ensemble (Dancers Against Normal Actions), a company he launched in 1991 to confront and challenge societal norms through movement. A graduate of Slippery Rock University with a BFA in Dance, Daniels has been celebrated as a Pittsburgh Cultural Treasure and recognized as a pioneer in exploring themes of race, sexuality, and identity in performance.

After a 20-year hiatus, Daniels reemerged in 2016 with a renewed artistic vision grounded in authenticity, innovation, and bold social commentary. Drawing from a dynamic blend of African, modern, and contemporary dance—infused with Butoh influences and raw emotionality—his choreographic language is uniquely his own. His work is a powerful fusion of dance, electronic soundscapes, video projection, and theater, creating immersive experiences that spark dialogue and reflection.

His creative practice has been supported by numerous awards and residencies, including a Pittsburgh Cultural Treasures grant, the Kelly Strayhorn Theater's FRESHWORKS Residency, the Pennsylvania Council on the Arts' Preserving Diverse Cultures grant, and the Young-Howse Theater Award for Movement Artist of the Year. Daniels’ work has been commissioned and performed across the United States and internationally, and 2025 brings new opportunities to share his vision throughout Europe, Central and South America, and beyond.

Artist Statement – Nick M. Daniels

As an artist, I confront the realities that shape my life and our world—realities too often distorted or erased. My work grapples with issues like racial injustice, political contradiction, and the stigmas placed on Black men, LGBTQIA+ communities, and all those who live beyond imposed norms. These are not limits but entry points—starting lines for deeper inquiry and expression.

I’ve always been drawn to surrealism in pop culture, to the emotional textures of computer-generated music, and to the power of movement as language. My formal training in African, modern, and contemporary dance, alongside Butoh and theater practices, laid the foundation for my own choreographic voice. Through the D.A.N.A. Movement Ensemble, I developed a style that is at once visceral and precise, emotional and conceptual—where each performance becomes a conversation between body, sound, image, and audience.

After more than two decades away from the stage, I returned to find a world transformed. With that, my work has evolved—embracing new technologies, new platforms, and a deeper commitment to integrity and clarity. I now incorporate dance films, installations, photography, and multimedia performance to reach audiences in new and meaningful ways.

My aim is simple, yet urgent: to create work that provokes thought, sparks dialogue, and dares to speak the truths that live in our bodies and communities. I strive to be relevant, resonant, and real—locally rooted, globally engaged, and always in pursuit of the next moment of honest connection.

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Colin Tucker presents before The Audience coheres: a site-specific installation realized in studio residency at FEED. The work excavates and disrupts the imperial foundations of late modern Western artistic constructions of Audience. The piece proceeds by reading Immanuel Kant’s influential aesthetic philosophy text Critique of Judgment (1790), with attention to its alignments with the Civilizationist writings of Spanish conquistadors, through Indigenous and decolonial critical theory, revealing the Kantian Audience as a body politic founded on imperial hierarchies of sensory capacity. The piece mobilizes this analysis by projecting images indexical of conquistador infrastructures and tactics on the Audience’s banal infrastructures—specifically, the audience seats of a theatre. As a settler who is read as white, I deliberately limit the scope of the project to a critique of the positions of white colonizers and historically white arts institutions, in order to proceed in a power-sensitive fashion. Through these strategies, the piece positions spectatorial audiovisual media within longer histories of Aesthetics and performance, opening unprecedented perspectives on media’s present-day imperial complicities and proposing a media arts that rejects the imperial temporality of “new” media in favor of long-historical, decolonial action against media’s own foundations.

Colin Tucker is an artist, writer, and curator who investigates intersections between music, art, and decoloniality. As an artist, they work with scores, videos, installations, and artist books to make critical interventions around the politics of sensation and territory. Current artistic projects include a book of event scores and essays on the politics of sensation in the concert hall, and site-specific interventions around the politics of infrastructure on occupied Turtle Island. As curator, he is presently working on performances and exhibitions of decolonial responses to Cageian and Fluxus performance. They live as a settler in Tkaronto/Toronto, on the occupied lands of the Dish with One Spoon Treaty. colintucker.studio

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BALLYHOO is a new body of exploratory work created by artist Alex Anthes as the culmination of her Sandbox Residency at FEED Media Art Center, August–October 2025.

Building on materials that recur throughout her practice, Anthes experimented with inexpensive party supplies, tissue paper, cardboard boxes, and metallic fringe, to create sculptural objects designed to partially obscure televisions and screens. This act of obstruction becomes a way to limit what is seen and, in turn, question how we see. Through the physical layering of mixed media, she introduces a deliberate pause around representation and meaning, a throughline in her work that touches on intimacy, memory, grief, and interpretation, and, at times, her more childlike relationship to these themes. The video remixes found and edited family footage, heavily abstracted through bright colors and layered shapes, only occasionally slipping into more recognizable imagery as the sequence unfolds.