Newsletter Networks in the Feminist History and Archives Movement

This article examines how networks have been critical to the construction of feminist histories. The author examines the publication Matrices: A Lesbian/Feminist Research Newsletter (1977–1996), to argue that a feminist network mode can be traced through the examination of small-scale print newsletters that draw on the language and function of networks. Publications such as Matrices emerge into wide production and circulation in the 1970s alongside feminist community archives, and newsletters and archives work together as interconnected social movement technologies. Newsletters enabled activist-researchers writing feminist histories to share difficult-to-access information, resources, and primary sources via photocopying and other modes of print reproduction.  Looking from the present, the author examines how network thinking has been a feature of feminist activism and knowledge production since before the Internet, suggesting that publications such as Matrices are part of a longer history of networked communications media in feminist contexts

Science, performance and transformation: performance for a ‘scientific’ age?

This is an accepted manuscript of an article published by Taylor & Francis in International Journal of Performance Arts and Digital Media on 30/09/2014, available online: https://www.tandfonline.com/doi/full/10.1080/14794713.2014.946282 The accepted version of the publication may differ from the final published version.The ‘two cultures’ of science and the arts/humanities are often considered at odds, but digital technology, and the broader implications of digital culture, provides a model for more productive forms of exchange and hybridity. This article applies theories of intercultural theatre practice to performance that works across this cultural divide to explore the types of interaction that take place. Following a historical discussion of the science/art divide, a three-fold model is proposed and explored through case studies including Djerassi and Laszlo's 2003 NO, Eduardo Kac's 1999 Genesis, Reckless Sleepers' 1996/2006 Schrödinger's Box, and John Barrow's 2002 Infinities. It is argued that science operates through the creation of mathematical models of aspects of the physical world, whilst art similarly constructs different kinds of models for understanding the social/cultural and occasionally physical world. Digital technology expands the modelling possibilities both directly, through simulation, virtual reality and integration into ‘live’ activities of augmented and intermedia performance, and through the transformative nature of digital culture

Global Flashpoints: Transnational Performance and Politics: Faculty Curator's Notes

In organizing “Global Flashpoints: Transnational Performance and Politics,” our purpose was to open up aninternational exploration of transnational/global practicesconcerning social organization, gender, and sexualitythrough performances and academic research across avariety of countries and colleges. To that end, we hostedperformances from India, Mexico, Taiwan, and Los Angeles,with themes concerning the abusive practices surroundingthe taking of child brides in The Wife’s Letter, the role ofthe arts in metaphysical discourses and social protests inDialogues Between Darwin and God, deconstructing orientalistfantasies of women in Dancing Mother Courage andThe Good Person, and imagining homoerotic relationshipsbetween slaves in the antebellum South in bonded. Theperformances took place in various sites across the campus,including Royce Hall, Glorya Kaufman hall, and MacGowan.They were attended by students and scholars from UCLA,USC, CSULA, as well as local community members fromvarious ethnic and diasporic communities

Performing the Cyberbody on the Transnational Stage

(no abstract available

Global Flashpoints: Transnational Performance and Politics: Faculty Curator's Notes

In organizing “Global Flashpoints: Transnational Performance and Politics,” our purpose was to open up aninternational exploration of transnational/global practicesconcerning social organization, gender, and sexualitythrough performances and academic research across avariety of countries and colleges. To that end, we hostedperformances from India, Mexico, Taiwan, and Los Angeles,with themes concerning the abusive practices surroundingthe taking of child brides in The Wife’s Letter, the role ofthe arts in metaphysical discourses and social protests inDialogues Between Darwin and God, deconstructing orientalistfantasies of women in Dancing Mother Courage andThe Good Person, and imagining homoerotic relationshipsbetween slaves in the antebellum South in bonded. Theperformances took place in various sites across the campus,including Royce Hall, Glorya Kaufman hall, and MacGowan.They were attended by students and scholars from UCLA,USC, CSULA, as well as local community members fromvarious ethnic and diasporic communities