Ph.D. in Performance Studies with a Certificate in Film Studies, University of California at Berkeley

Heather Warren-Crow (they/she/he) is a time-based artist and media theorist. As a mentor of graduate students, they specialize in supporting practice-based, feminist, and/or philosophy-oriented arts research; projects engaging with film and media studies; and performance and intermedia art. Dr. Warren-Crow is the winner of two teaching awards and the Chancellor's Council Distinguished Research Award, the TTU System's highest honor. They like intellectually unruly projects.

Dr. Warren-Crow’s artistic practice uses repetition to fiddle with the boundary between the preprogrammed and the spontaneous. Currently working primarily in experimental film and sound art, they design stubbornly lo-tech procedures for media creation, often using their own messy embodied cognition to accomplish what computational algorithms do better. For various process-focused pieces, they wrote 47 permutations of a description of the interior of Airforce One and other presidential aircraft; listed every indication of the sound of animal labor from the closed captions of Westerns streamed day and night over two weeks; and used microbes to decompose 35mm found footage over 6 days for a film about death. They consider what they do to be wet conceptualism (following Warren Neidich), performance, and expanded writing, no matter the medium of its expression. Their work has been shown at festivals and in galleries around the world—recently, in Pune (India), Venice (Italy), London (UK), Austin (Texas), and Kansk (Russia).

Most of Dr. Warren-Crow’s academic writing accounts for 19th-21st century new media—from photography and animation to social media and generative AI—as speculative philosophies of personhood. Their scholarship is distinctive in its approach to animation studies and the history of computation. Dr. Warren-Crow has written three books: Girlhood and the Plastic Image, Young-Girls in Echoland: #Theorizing Tiqqun (co-authored with Andrea Jonsson), and Shakespeare and Nonhuman Intelligence, which presents the Bard as the embattled figure of writing in the age of ChatGPT and other alleged crimes against the human organism.

They are a member of CO-OPt, an artist-run gallery and experimental music venue here in Lubbock profiled in The Wire music magazine, and artist-in-residence at a biophysics lab in Massachusetts.