Humanist Discussion Group

Humanist Archives: Dec. 17, 2021, 7:08 a.m. Humanist 35.413 - pubs: cfp for Routledge Companion to Performance and Science; Critical Inquiry 48.2

              Humanist Discussion Group, Vol. 35, No. 413.
        Department of Digital Humanities, University of Cologne
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    [1]    From: Simon Parry <simon.parry@MANCHESTER.AC.UK>
           Subject: CFP Routledge Companion to Performance and Science (182)

    [2]    From: Willard McCarty <>
           Subject: Critical Inquiry 48.2 (77)

        Date: 2021-12-16 11:26:42+00:00
        From: Simon Parry <simon.parry@MANCHESTER.AC.UK>
        Subject: CFP Routledge Companion to Performance and Science

CFP Routledge Companion to Performance and Science 

Editors: Paul Johnson, Simon Parry and Adele Senior

Deadline for Abstracts 29/1/2022*

We invite proposals for The Routledge Companion to Performance and Science.

This extensive volume aims to capture the growing international interest
in the intersections between performance and science, both as a body of
knowledge and a set of practices. The focus is both on contemporary
practice and on the long and varied histories that mark the relationship
between performance and science. The collection will chart a wide range
of theoretical approaches, as well as both new and well-established
attitudes towards science, scientific methods, and scientific knowledge.
We welcome a range of perspectives including, but not limited to,
postcolonial, decolonial, posthumanist, feminist, queer and eco-critical
approaches to the study and practice of performance and science. The
definition of ‘practice’ is manifold, including diverse drama, theatre,
dance, music, and other performance practices; science communication and
interpretation; scientific approaches to performance (such as dance
science, performance psychology, or voice science); and the processes
for generating and disseminating scientific knowledge. We are interested
in receiving chapter contributions (max. 7000 words) from within and
outside the academy, including shorter practitioner texts (max. 2000
words) that offer narrative or reflective accounts of case studies of

The collection asks:

·How can scientific knowledges be interrogated by performance practices?

·What are the ways in which performance can explore the human
implications of scientific developments?

·How can scientific practices be understood through performance theories?

·How does performance negotiate representations of scientists or
scientific practices and ideas?

The questions raised by the /Companion to Performance and
Science/ become more urgent as we move through the 21^st century,
resonating with the immediate challenges of climate change, energy and
water security, data science, genetic engineering, pandemics and so on.
Such challenges are culturally, historically, and politically situated
and we invite contributions from across the world that reflect local,
national, international and/or global perspectives. By exploring past,
current, and future relationships between performance and science, the
collection will offer timely ways of understanding, interrogating, and
communicating the implications of the choices that we make for humanity
and the planet. We are seeking contributions to the following sections:

1. Histories of science and performance 

This opening section will offer a series of historical and international
perspectives on various links between science and performance,
illustrating some of the ways that scientific developments have shaped
performance and vice versa. Chapters may specifically set out to redress
partial and hegemonic historical accounts of science and performance.
This might include (but is not limited to):

·analysis of significant works of performance and their relationships
with the science of the time;

·transhistorical research that traces genealogies of particular
scientific concepts;

·anti-racist, decolonial and feminist histories or historiographies of
science and performance.

 2 Disciplined Performance  

This section will focus on a range of scientific disciplinary fields
addressing their manifestations through theatre and/or performance and
their influence on theatre and performance studies. Chapters in this
section will provide a guide to key works that engage with scientific
disciplines. We welcome contributions that consider how contemporary
theatre and performance has engaged with:

·quantum physics, astronomy, bioscience, medical science, physiology,
chemistry, engineering, psychology, cognitive science, earth sciences,
material sciences, mathematics, epidemiology, zoology, ecology, climate
science, human geography, computer science and so on;

·interdisciplinary fields that cut across more established disciplines
like animal studies, critical plant studies, health humanities,
artificial intelligence.

 3. Performance Cultures and Science 

This section will chart the wide range of performance forms that have
been inspired by science and explore how such forms constitute distinct
aesthetics of science.  This could include chapters on:

·Musical theatre, documentary or verbatim theatre, hip hop performance,
dance, popular performance, performance/live art, bioart, digital
performance, applied theatre, museum theatre, carnival and comedy;

·Aesthetics of the science demonstration or public lecture;

·A particular performer, artist, scientist or company associated with
any of the forms listed above;

·institutional, local, national or international contexts for the
production of science in/through performance e.g. festivals, programmes
or venues.

4. The Sciences of Performance

This section will outline the ways in which scientific approaches have
been applied to performance, focusing on the (cultural, aesthetic,
social, political, ethical, technical/technological) implications of
thinking scientifically about training, making, and experiencing
performance. This might include:

·approaches from dance science, voice science, performance psychology;

·scientific approaches to performance from theatre architects or engineers;

·sciences of performance/performer training;

·performance and health;

·scientific approaches to audience research (e.g. neuroscience,
cognitive science).

 5. Science, Performance and Communication 

This section will explore the way that theatre and performance might
offer alternative or productive ways of understanding and/or
communicating science. Authors in this section may come from a wide
range of disciplines including scientific and social science domains.

This might include:

·the use of theatrical metaphors in the philosophy of science, science
and technology studies (STS), or the application of concepts such as
choreography in sociology of science;

·the role of performance in the mediatisation of science;

·the performance of science in a post-truth context; performance,
science and misinformation;

·Amateur/DIY/citizen science in or as performance and the popularisation
or democratisation of science;

·Performance in/of science education; performance and public
understanding or public engagement with science;

·Performance, science and activism/social movements.

We are particularly keen to receive submissions for all sections from
research students, early career researchers, and black and global
majority heritage scholars. We also welcome contributions from
practitioners from the wider arts scene, science, science communication
or other fields.

Please submit an abstract of up to 500 words and a brief bio of 200
words, indicating which section your proposed contribution aligns with
and the intended length of your piece (see below), by *Friday 29 January
2022* to

First draft submissions:  1 June 2022 

We would expect draft submissions to be either in the form of research
chapters (max. 7000 words) or practitioner texts (max. 2000 words).
Please contact us if you would like to propose a contribution in a
different format.

Publication date:  December 2023 

Dr Simon Parry

Senior Lecturer in Drama and Arts Management 
Director for Social Responsibility,
Internationalisation and Business Engagement,
School of Arts Languages and Cultures
University of Manchester, Manchester M13 9PL

        Date: 2021-12-16 11:20:37+00:00
        From: Willard McCarty <>
        Subject: Critical Inquiry 48.2

Critical Inquiry
Volume 48, Number 2 | Winter 2022

Surplus Data: Edited by Orit Halpern, Patrick Jagoda, Jeffrey West
Kirkwood, and Leif Weatherby

Surplus Data: An Introduction
Orit Halpern, Patrick Jagoda, Jeffrey West Kirkwood, and Leif Weatherby

Golden Age of Analog
Alexander R. Galloway

On the Digital Ocean
Sarah Pourciau

Data as Symbolic Form: Datafication and the Imaginary Media of W. E. B.
Du Bois
David Bering-Porter

Artificial Antisemitism: Critical Theory in the Age of Datafication
Matthew Handelman

Recursive Philosophy and Negative Machines
Luciana Parisi

The Future Will Not Be Calculated: Neural Nets, Neoliberalism, and
Reactionary Politics
Orit Halpern

From Work to Proof of Work: Meaning and Value after Blockchain
Jeffrey West Kirkwood

Indexical AI
Leif Weatherby and Brian Justie

The CI Review

Eugene T. Richardson, Epidemic Illusions: On the Coloniality of Global
Public Health
Alen Agaronov
Terry Smith, Art to Come: Histories of Contemporary Art
Martha Buskirk
Maia Kotrosits, The Lives of Objects: Material Culture, Experience and
the Real in the History of Early Christianity
Caroline Bynum
Joan Wallach Scott, On the Judgment of History
Lorraine Daston
Jonathan Rauch, The Constitution of Knowledge: A Defense of Truth
Jeff Frenkiewich
Deborah A. Starr, Togo Mizrahi and the Making of Egyptian Cinema
Ghenwa Hayek
Karim Mattar, Specters of World Literature: Orientalism, Modernity, and
the Novel in the Middle East
Yasmine Khayyat
Anahid Nersessian, The Calamity Form: On Poetry and Social Life
Marjorie Levinson
Bernard E. Harcourt, Critique and Praxis: A Radical Critical Philosophy
of Illusions, Values, and Actions
Daniele Lorenzini
Isaac Ariail Reed, Power in Modernity: Agency Relations and the Creative
Destruction of the King’s Two Bodies
Paul North
Dinah Ribard, 1969: Michel Foucault et la question de l’auteur:
“Qu’est-ce qu’un auteur?” Texte, présentation, et commentaire
Haun Saussy
Corey Byrnes, Fixing Landscape: A Techno-Poetic History of China’s Three
Christian Sorace
Margaret Hillenbrand, Negative Exposures: Knowing What Not to Know in
Contemporary China
Shaowen Zhang

Willard McCarty,
Professor emeritus, King's College London;
Editor, Interdisciplinary Science Reviews;  Humanist

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