THREE YEARS AGO I had the privilege of participating in the Experimental Comedy Training Camp, a two-month residency program, at the Banff Centre in Alberta, Canada. Artists Michael Portnoy and Ieva Misevičiūt·e, plus guests including comedian Reggie Watts, led over a dozen individuals through intensive physical workshops, performance nights and discussions focused on injecting contemporary art with a jolt of critically engaged comedy. I studied and collaborated with Toronto artist collectives Fake Injury Party and Life of a Craphead, Finnish filmmaker Maarit Suomi-Väänänen, Bay Area writer and artist Bean Gilsdorf, British sculptor and public provocateur Briony Clarke, and multiple other interdisciplinary misfits who are all very serious about being silly.