sets precarious parameters wherein roles & resources play actors & places as if everything extends itself uncertainly.  In 2014, she founded DOORS UNLIMITED, a roving vessel for investigative operatics that proliferates communitarian-collaborative strategies for provisional-conditional experimenting in/with soap opera, encampment opera, opera-within-opera, telephone drama, dismantlement, dialectics, days & nights & neither, near-death, opera in bed, opera in spite of itself, opera in excess of itself, anti-institutional operatic awareness, protrusions, performance, sticks, schools, stones squares, soggy cereal, long songs, backlog, tending tender tendencies, like water, underwater, fake hair, carpet squares, contact paper, play mats, flooded currency, fluidity, liquid plumber, uncertainty.

Her multi-phasic, month-long opera, Transient’s Theme, premiered at the Knockdown Center in 2014, following a 2-month collective-convective convocation or composition involving 80 participants at a campground in the Catskills.  Ides’ performance & installation work has been presented at Mandragoras Art Space (MAAS), Fragmental Museum, St. Marks Poetry Project, St. Francis College, Dixon Place, the Brooklyn Museum, the Gershwin Hotel, other places in other cities, & BOMB Magazine’s Instagram account.  Additionally, she co-curates festivals, co-writes articles on sound theory, co-edits fugitive anthologies, harmonizes, & partners in movement with wonderful, really wonderful people for real & wonderful occasions too starry to count out.  She is perennial artist-in-residence at the Prattsville Art Center & soon also at SenseLab in Montreal.  Ides teaches at Pratt, Bard, SVA, & SUNY-Albany, & is being taught a lot.