‘Puppet Motel’; and how they are related to his interest in performative pedagogies. The years at Florida shaped McKenzie's approach to theory and life and Ulmer's teaching left a big thumbprint on his mind. ‘The experimental approach to theory is constant, the emphasis on generalised writing, multimedia, mixing them up. Anagrammatology’. McKenzie's concepts and views on performance theory Jon McKenzie has various views on performance theory. He refers to performance as having multiple definitions: performance as spectacle, performance as a machine's effectiveness, and a government representative's performance during speeches. All these concepts are becoming ‘entwined’ (McKenzie, 2003; 118) due to the different paradigms involved around the phenomena in defining what is performance. McKenzie describes the whole world as becoming a ‘test site,’ (McKenzie, 2003; 120) in which everything is being tested as a performance. McKenzie believes that the world is entering ‘an age of global performance.' He believes that performance has become globalized and that everything can be perceived as a performance. In the article, 'Democracy’s Performance,' he notes that ‘performance practices have gone digital... merging art, activism and technology to create electronic civil disobedience’ (McKenzie, 2003; 117). According to McKenzie, performance studies is constantly ‘contesting’ (McKenzie, 2003; 117) and expanding its own concepts through ‘experimental’ (McKenzie, 2003; 117) ways of teaching and research. McKenzie considers the definition of performance in light of globalization to be ‘too American’ (McKenzie, 2006; 7) because it is problematically seen as universal, where, in actuality, each piece of performance is contextually unique. Another of McKenzie's theories, influenced by the work of Judith Butler, Jean-François Lyotard and Herbert Marcuse, is that performance has formed a ‘performance stratum’ (McKenzie, 2003;117). This stratum involves the intersection of power and knowledge; although he admits that it has not ‘fully installed itself’ (McKenzie, 2001; 6); he has come to this conclusion by extending Michel Foucault's theories of discipline, in which he believes there needs to be a term to explain the different degrees of performance; cultural, organizational, and technological, although this term is only new due to the emergence of the globalization of performance; which is rapidly increasing. Referencing Friedrich Nietzsche, he also suggests that Gay Science might help us to develop a methodology that can be practiced within performance by interweaving paradigms and researching different types performance. In the article ‘Democracy’s Performance’ he suggests that global performance contains complex forces and affects; the effects being a system of