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Theatre and the politics of engagement
Author: Simon Parry

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

The sense of an ending in Jeanette Winterson’s The Stone Gods
Adeline Johns-Putra

aftermath of a devastating world war amidst the ruins of a climate-changed planet. Her job involves educating Spike, this time a cyborg created to provide objective, rational government of the country. Britain is run by a faceless corporation called MORE, which has rebuilt the war-torn economy and now asserts complete control over it. But MORE is also the name of the corporation 184 Reading sustainability behind the Central Power of the first chapter. Thus, Planet Blue is Planet Earth, and is committing identical, not merely similar, mistakes to those made by humans on

in Literature and sustainability
Science fiction, singularity, and the flesh
Caroline Bassett

Anthropocene (Latour, 2011, 2018 , Haraway, 2016 ). Haraway has long drawn on SF's capacity to reconfigure possible forms of future possibility in her critical science writing; her 1980s cyborg was a mythical being, and the late work, treading less lightly, deploys theory-fiction in more straightforward narrative ways – albeit problematically (see Haraway, 2016 ). The links I want to develop between (science/speculative) fictional figuration, technology and its limits, and care build on both to some extent but also take a different form. Care can be too easily invoked as

in Anti-computing
Gob Squad, a funny robot and dancing scientists
Simon Parry

Carmen. Hansky performs Orpheus in the Gluck aria. This is a complex switch in that Orpheus is a male character, but normally in this opera performed by a woman. My Square Lady makes use of such gender doubling that is an established part of theatrical traditions – Christiane’s long professional career has relied on it. Its choreography sets this tradition in a metonymic relation to the body doubling of the cyborg or robot that was covertly established through the imitation game and makes it explicit. As I have already referred to, the artifice in artificial

in Science in performance
Open Access (free)
Reading practices and participation in digital and medieval media
Heather Blatt

Press, 1996), 36–78. Scholars have critiqued Engelsing’s work, however, on several grounds. 25 Quoted from The Riverside Chaucer, 3rd ed. Ed. Larry D. Benson (Boston: Houghton Mifflin, 1987). 26 Cited from line 379ff. of Troy book, ed. by Henry Bergen, EETS e.s. 97, 103, 106, 126 (London: Kegan Paul, Trench and Trübner & Co., 1906–35). 27 For a key work on posthumanism, see Andy Clark, Natural-born cyborgs: minds, technologies, and the future of human intelligence (New Introduction 23 York: Oxford University Press, 2003), at 138–9. Other influential

in Participatory reading in late-medieval England
Open Access (free)
Jen Archer-Martin and Julieanna Preston

together as different kinds of bodies, and look for empathetic relationships between them. Our understanding was by way of Haraway’s notion of the cyborg: ‘hybrid entities that are neither wholly technological nor completely organic, which means that the cyborg has the potential […] to disrupt persistent dualisms that set the natural body in opposition to the technologically recrafted body’ (Balsamo, 1999 : 11). Bitumen was not characterised in the work as ‘unnatural’. Binaries of live/inert and natural/artificial were problematised through notions of material agency

in Performing care
Gender, sexual difference and knowledge in Bacon’s New Atlantis
Kate Aughterson

image of our relationship to nature suggests that Bacon’s new scientist may, in his or her role reversals, and equal respect for both the natural world and technology, remind us more of Harraway’s cyborg,43 than the masculinist ideologue described by many ecofeminists. This reading of the New Price_08_Ch8 175 14/10/02, 9:48 am 176 Francis Bacon’s New Atlantis Atlantis offers a way of enabling us to re-articulate the legacy of Baconian science for the twenty-first century. Notes 1 Francis Bacon, The Refutation of Philosophies, in B. Farrington (ed.) The

in Francis Bacon’s New Atlantis
Open Access (free)
Putting the countryside back to work
David Calder

to Hip Hop (Cambridge, MA: Harvard University Press, 1998), 69. 65 Ibid. 66 For more on the gestural links between industrial workers and employees in the tech and service industries, see Sarah Angliss and Caroline Radcliffe, ‘Revolution: Challenging the Automaton: Repetitive Labour and Dance in the Industrial Workspace,’ Performance Research 17.6 (2012): 40–7; and Donna Haraway, ‘A Cyborg Manifesto: Science, Technology, and SocialistFeminism in the Late Twentieth Century,’ in Simians, Cyborgs, and Women: The Reinvention of Nature (Abingdon: Routledge, 1991), 149

in Street theatre and the production of postindustrial space
Nicholas Johnson

–69 . O’Leary , Joseph S. ( 2008 ), ‘ Beckett and Radio ’, Journal of Irish Studies , 23 , pp. 3–11 . Pountney , Rosemary ( 1988 ), Theatre of Shadows: Samuel Beckett's Drama 1956–76 , Buckinghamshire : Colin Smythe . Saltz , David Z. ( 1997 ), ‘ Beckett's Cyborgs: Technology and the Beckettian Text ’, TheatreForum , 11 , pp. 38

in Beckett and media
Open Access (free)
Arendt, automation, and the cybercultural revolution
Caroline Bassett

-and-the-witch-women-the-body-and-primitive-accumulation . Keyserling , Leon H. 1965 . ‘ Automation … Reply by Daniel Bell in response to The Bogey of Automation from the August 26, 1965 issue ’, The New York Review of Books , 25 November, www.nybooks.com/articles/archives/1965/nov/25/automation-2/ . Kline , Robert . 2009 . ‘ Where are the Cyborgs in Cybernetics? ’, Social Studies of Science , 39 ( 3 ): 331

in Anti-computing