Issue 10.3 | Summer 2012 / Guest edited by Jonathan Beller

About the Contributors

Jonathan Beller is Professor of Humanities and Media Studies and director of the Graduate Program in Media Studies at Pratt Institute. His work focuses on the relationship between the rise of industrial and digital forms of imaging and the transformation of political economy, discourse function and the value-form. Beller’s books include The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle (Dartmouth/UPNE 2006) and Acquiring Eyes: Philippine Visuality, Nationalist Struggle and the World-Media System (Ateneo University Press, 2006). Current book projects are Present Senses: Aesthetics/Affect/Asia (with Neferti Tadiar) and Wagers Within the Image. He also serves on the editorial collectives of tripleC (Cognition, Communication, Co-operation an Open Access Journal for a Global Sustainable Information Society) and Social Text.

Katrina Brown is a choreographer working with performance, drawing and digital media. Since 2009 she is lecturer choreography at University College Falmouth (previously Dartington College of Arts) UK. She has a PhD research bursary at Falmouth investigating the intersection of body and surface. She has made work through residencies at L’Animal a L’Esquena, Spain and La Gomera, developing her website Archive of Traces and an ongoing project with her son, Time has no Colour. Her performance project Etsbeest with pre-school children in collaboration with singer Han Buhrs is travelling through Europe since 2009. Katrina Brown & Rosanna Irvine have been working collaboratively on the project what remains and is to come since 2011, including presentations in Nightingale Brighton, Het Veem Theatre Amsterdam and Actionable Image Symposium Zagreb/BADco. They have recently been published in Performance Research 17.4 ‘On Ecology’ (artist pages) August 2012. Visit katrinabrown.net for more information.

Patricia Ticineto Clough is professor of Sociology and Women’s Studies at the Graduate Center and Queens College of the City University of New York. She is author of Autoaffection: Unconscious Thought in the Age of Teletechnology (2000); Feminist Thought: Desire, Power and Academic Discourse (1994) and The End(s) of Ethnography: From Realism to Social Criticism (1998). She is editor of The Affective Turn: Theorizing the Social, (2007) and with Craig Willse, editor of Beyond Biopolitics: Essays on the Governance of Life and Death (2011). She is currently working on Ecstatic Corona: Philosophy and Family Violence, an ethnographic historically researched experimental writing project about where she grew up in Queens New York.

Dina Gadia deconstructs signs from mass media conspiring to present a comedy of errors, reveling within while being lost in translation. Born in 1986 in Pangasinan, Philippines, she currently lives and works in Manila. She has had numerous solo exhibitions at Silverlens, Blanc Artspace, Hiraya Gallery, and her show Regal Discomforts was short-listed in the 2012 Ateneo Art Awards. She received her BFA Advertising degree in 2006.

Cindy Gao is a recent graduate of Columbia University where she majored in the now-dismantled Comparative Ethnic Studies program. As an undergraduate she was the Political Chair of the Asian American Alliance and helped to revive the Ethnic Studies activist group Students Promoting Empowerment and Knowledge (SPEaK). She was also a member of Radical CUNTS, LUCHA, ROOTEd, and Freedom School, as well as a resident at the Intercultural Resource Center. She is currently working as an investigator for The Bronx Defenders, a non-profit provider of free and holistic legal counsel to people involved with the criminal justice system in the Bronx.

Marina Gržinić is philosopher, theoretician and artist that works in Ljubljana, Slovenia and Vienna, Austria. She is researcher at the Institute of Philosophy at the Scientific and Research Center of the Slovenian Academy of Science and Art (ZRC-SAZU), Ljubljana and professor at the Academy of Fine Arts in Vienna. She published in the last 15 years ten theoretical books (in Slovenian, French, English, etc.). She has lectured at various universities including Duke University, University of California, Berkeley, Goldsmith, London and Columbia University, New York. She has been involved with video art since 1982. In collaboration with Aina Šmid, she has realized more than 40 video art projects.

Orit Halpern is an assistant professor in History at the New School for Social Research and Eugene Lang College. She is also an affiliate in the new Design MA program at Parsons School of Design. Her research is on histories of digital media, cybernetics, art and design. Her current book project (forthcoming through Duke Press) is titled Beautiful Data: A History of Vision and Reason since 1945 and is a genealogy of our contemporary concerns with “big data”, visualization, and interactivity. Her published works and multi-media projects appear (or are forthcoming) in C-theory, Configurations, Post-Modern Culture, Public Culture, Interdisciplinary Science Reviews, and The Journal of Visual Culture and at ZKM in Karlsruhe, Germany. She completed her Ph.D. in History of Science at Harvard University in the History of Science (2006) and received a Post-Doctoral Fellowship at the John Hope Franklin Center at Duke University (2007-08). She is currently a fellow at the Institute for Public Knowledge at NYU as part of the Poiesis Fellowship, and has also been a fellow at the Max Planck Institute for the History of Science in Berlin. You can find out more at orithalpern.net.

Rosanna Irvine is a choreographer working with performance, digital media and language practices often in collaboration with others. Her work is informed by a responsive approach to practice, is concerned with issues of relations and with the activation of perception within choreographic environments. She is research artist at Dance4 (producer of Nottdance Festival) carrying out practice-based PhD research, funded by Arts and Humanities Research Council (UK), through her own practice and in relation to Nottdance archive and the development of ‘conceptual’ dance in the UK. She was previously lecturer in choreography at Dartington College of Arts. Katrina Brown and Rosanna Irvine have been working collaboratively on the project what remains and is to come since 2011, including presentations in Nightingale Brighton, Het Veem Theatre Amsterdam and Actionable Image Symposium Zagreb/BADco. They have recently been published in Performance Research 17.4 ‘On Ecology’ (artist pages) August 2012. Visit rosanna-irvine.co.uk for more information.

Katie King is Professor of Women’s Studies at the University of Maryland, College Park, and a Fellow of the Maryland Institute for Technology in the Humanities (MITH). She received her Ph.D. in the History of Consciousness at the University of California, Santa Cruz. Her transdisciplinary scholarship is located at the intersection of feminist technoscience studies, intersectional digital cultures and media studies, and LGBT Studies. Her first book was Theory in its Feminist Travels: Conversations in U.S. Women’s Movements; and her second, Networked Reenactments: Stories Transdisciplinary Knowledges Tell. She is now working on two others: Speaking with Things: An Introduction to Writing Technologies, and Demonstrations and Experiments: Quaker Women at the Origins of Modern Science. She has been published in the journals Writing Technologies, Criticism, Feminist Theory, camera obscura, Configurations, TEXT, Communications, and Cultural Studies. Her website is katiekin.weebly.com.

Deborah Levitt is Assistant Professor of Culture and Media Studies at Eugene Lang College, The New School. She is a media historian and theorist whose teaching and research interests range across moving image forms, including animation and digital cinema, and topics in media and cultural theory, including biopolitics and affect studies. Her publications include an essay on media and biopolitics in The Work of Giorgio Agamben: Law, Literature, Life (Edinburgh University Press 2008), and contributions to The Agamben Dictionary on “Gesture” and “Spectacle” (Edinburgh University Press, 2010). She has also co-authored the film theory chapter in The Year’s Work in Critical and Cultural Theory (Oxford University Press, 2010, 2011, 2012) and co-edited a volume, Acting and Performance in Moving Image Culture: Bodies, Screens, Renderings (Transcript Verlag, 2012). Her first book, The Animatic Apparatus, is forthcoming from Zero Books.

Negar Mottahedeh is Associate Professor of Literature and Women’s Studies at Duke University. Her work has been published in Camera Obscura, Signs, Iranian Studies, Radical History Review, MERIP, The Drama Review, Early Popular Visual Culture, and Comparative Studies of South Asia, Africa and the Middle East. In 2008, Duke University Press published her book on Post-Revolutionary Iranian Cinema entitled Displaced Allegories. Her first book, Representing the Unpresentable, on visual history and reform in Iran from the 19th century to the present was published in 2008 by Syracuse University Press. A perceptive theorist of Iranian visual culture, Professor Mottahedeh writes and speaks about culture, innovation and digital technologies. Her current research and writing on the uses of social media in uprisings for civil liberties and equality around the world, supplement her engagement as blogger and activist. She tweets as @negaratduke.

Roya Rastegar is a Visiting Assistant Professor and Mellon Postdoctoral Fellow in the History of Art department at Bryn Mawr College. She received a Ph.D. from the History of Consciousness Program at UC Santa Cruz. In collaboration with Wu Tsang, Rastegar is the screenwriter of Wildness (2012), which was honored as one of the year’s most “influential, innovative films” with “lasting historical significance” for MoMA’s The Contenders 2012 film series, and was awarded the Grand Jury Prize for Documentary at Outfest. She was a curatorial fellow at the Whitney Museum’s ISP, a co-director of the Santa Cruz Women of Color Film & Video Festival, and has participated in the programming process of a variety of festivals, including at Sundance, Tribeca, and the Los Angeles Film Festival. Her current book manuscript explores the transformative possibilities of film and new media curatorial practices through a critical study of film festivals in the U.S.

Catherine Sameh is Associate Director of the Barnard Center for Research on Women, and editor of The Scholar & Feminist Online. At BCRW, she coordinates transnational collaborations with peer centers globally, and is co-director, with Ynestra King, of the Feminism and Disability Oral History Project. She holds a Ph.D. in Women’s and Gender Studies from Rutgers University.

Manuel Vason was born 1974 in Padova, Italy; he lives and works in London. Vason’s artistic practice explores the relationship between photography and performance, presence and representation. He considers the capturing of a moment as an act of creation, as an exchange between who is in front and behind the camera, as a ritual towards the illusion of immortality. The collaborative nature of his practice shapes a unique hybrid art form and forms new vocabularies. His collaborations to date have become some of the most iconic images of performance and his work has been published and presented internationally.