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Open Access (free)
Theatre and the politics of engagement

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.

ELIZA the more than mechanical therapist
Caroline Bassett

in fiction, from Frankenstein (and his parent) on. To break with Weizenbaum I have, rather than excoriating ELIZA as an unintentionally proffered accelerant for accelerationism/machine rationality whose influence came from her attributed capacities rather than anything substantial, reconsidered what ELIZA did – and specifically what ELIZA did as a therapist. An afterword Plug & Play , a documentary directed by Jens Schanze, made many years after the ELIZA events, intercuts

in Anti-computing
Open Access (free)
Christopher Morgan

within a larger, more powerful dimension.3 This is a key point in Thomas’s position on applied science. What he calls ‘the machine’ becomes not applied science per se but a system of values according to which the en masse production, possession, and use of technology outweigh every other consideration. It is this rampant decontextualisation of applied science which Thomas views as harmful, its increasingly unbridled independence by which it becomes a kind of Frankenstein’s monster, a changeling, achieving not only a life and a will of its own but its virtual

in R. S. Thomas
Gob Squad, a funny robot and dancing scientists
Simon Parry

about AI and robotics. In performance, these were reconfigured through repetition and metonym. This is a clear departure from dominant cultural modes of engendering affect through (robotics) science in performance such as the enduring Frankenstein tropes that express and drive a fear of runaway science and technology or attempts to articulate a more hopeful vision within the marketing cultures of technology multinationals and some documentaries. It also diverges as a practice from some utopian scenarios within experimental arts and science practices from Ars

in Science in performance
Dystopian performatives and vertigo aesthetics in popular theatre
Simon Parry

multinational airline and by the present (of the play) has become an embittered fatalist.13 Robert is neither a Frankenstein directly responsible for the planet’s doom, nor a heroic figure that has not been listened to. He is rather a deeply flawed cynic whose views, that the tipping point has passed and that the earth will long outlive humans whatever damage has been done, appear to echo those of the iconoclastic James Lovelock (Bottoms 2012). He coldly advises his pregnant daughter Freya not to have her baby. This sense of doom-laden inevitability and disempowerment is

in Science in performance
Open Access (free)
Towards a contemporary aesthetic
Jonathan Dollimore

injunction has been regarded as profoundly liberatory, albeit with tragic consequences, though sometimes also with revolutionary ones. Straddling that opposition are some of the great trangressive figures of myth and literature including Eve, Prometheus, Faust/us, Mary Shelley’s Frankenstein, Flaubert’s Madame Bovary, Thomas Mann’s Aschenbach and Joseph 48 Positions Conrad’s Kurtz. Others, like Robert Louis Stevensons’s Jekyll/Hyde, embody the realisation that knowledge of evil is more intimate with genius than with barbarism, while those like Shakespeare’s Macbeth

in The new aestheticism
T.S. Eliot and Gothic hauntings in Waugh’s A Handful of Dust and Barnes’s Nightwood
Avril Horner
Sue Zlosnik

of certain authors and certain Modernist texts produced a narrative which, while recognising a high level of intertextuality and cosmopolitan interchange, failed to include women writers and the influence of popular culture. At this time, Modernist written texts seemed to be eschewing the melodramatic and Unreal cities and undead legacies 225 the supernatural. The Gothic, a sensationalist and popular form, therefore appeared to have found its ‘proper’ home in the popular realm of film (as in, for example, Murnau’s Nosferatu (1922), James Whale’s Frankenstein (1931

in Special relationships
Science fiction, singularity, and the flesh
Caroline Bassett

right. It is, rather, to suggest that care is something SF can do because of what it is ; something which might be exploited, or pushed, or engaged with in various ways. Working through this, I now consider how a series of SF works have taken care with singularity and AI issues and how, in taking care, they have taken sides. These are not technological dystopias, or are not read as such here. There is a long tradition of writing against machine intelligence, from Frankenstein on, and also in film, from the False Maria to

in Anti-computing
Open Access (free)
Disrupting the critical genealogy of the Gothic
Jenny DiPlacidi

), 553–72. 111 Romantic works of sibling incest, such as Lord Byron’s Manfred (1817) or Shelley’s Frankenstein (1818), often end in death for one or both siblings, while this is much less common in the Gothic. See also Gail Finney, ‘Self-reflexive siblings: incest as narcissism in Tieck

in Gothic incest
Open Access (free)
Masculinity, mortaliity and sexual politics
David Brauner

prerogative of Yahweh). However, the implicit analogy that Cain draws between Adam and the golem is doubly subversive, alluding both to the myth from Jewish folklore of the creature that defies its creator and to the English literary version of the myth, Frankenstein , specifically to Adam’s rhetorical question to his maker from Milton’s Paradise Lost ( 1674 ) which serves as the epigraph to Mary Shelley’s novel: ‘Did I request thee, Maker, from my clay/To mould me man?’( 2006 : X, 743–44). In The Very Model of a Man , however, it is Cain, rather than Adam, who poses

in Howard Jacobson