Teresa Stout

Teresa Stout (b. 1990, West Covina, CA) work spans film, text and performance. Positioned between diasporic and American culture. Their work concerns cultural consumption, technological development, sound politics and the perceived histories and the entanglements that happen within these topics. It often combines citations from a range of critical theory, cultural studies, music sampling, art criticism, and news reports. Sources include Sylvia Wynter, Jared Sexton, Missy Elliott, Hannah Black, Denise Ferreira da Silva, Jeff Mills, J Dilla, Frank Wilderson and Édouard Glissant. They undertook a Master of Science in Criminology and Criminal Justice as well as Master of Philosophy in Politics and International Studies, and Liberal Arts at University of Oxford Faculty of Law, University of Cambridge and The New School, respectively, with a foundational education as an organizer of carceral abolition.

Performing as softchaos, their work extends those that came before them in electronic sound, probing sites of possible opportunities for disobedience and radical potential for forming post-binary structures. They have performed globally, including at Primavera Sound, Boiler Room, Les Ardentes, Paragon Broadway, Corsica Studios, Sala Apolo, Fabric London, Traumabarundkino and Feria ARCO among others. Selected works include This Mix Isn’t for Dancing, Cult Classic Magazine, New York City (2023), Why Are These Plants Here and Other Ontological Stress, Matadero Madrid, Centro de Creación Contemporánea, Madrid (2021), The Modern Middle Passage: Anti-Blackness Operationalized in the Architecture of European Union's Externalization Processes, Cambridge University, Cambridge (2019) and Discourses of Securitization: Arms Trade and Border Governance of the European Union, Oxford Law Faculty, Oxford (2018).