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ACKNOWLEDGEMENTS
The author gratefully acknowledges the generosity of Phil Collins in granting permission to reproduce the images included in this article. Thanks are also due to colleagues on the ‘Intensities of Appearance’ panel at PSi 13, Happening, Performance, Event, 8–11 November 2007, New York University (Simon Bayly, Gianna Bouchard, Joe Kelleher, Alan Read, and Janelle Reinelt); and to Helen Gilbert and Jenny Edkins for sharing their thoughts about lip-sewing as a form of protest. Carl Lavery kindly commented on the article in draft form and contributed several helpful suggestions. All errors and oversights are, of course, the sole responsibility of the author.