<html><head><meta http-equiv="Content-Type" content="text/html; charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;" class="">APOLOGIES FOR CROSS-POSTINGS<div class=""><br class=""></div><div class="">Performance Matters has just published its latest issue at <a href="http://performancematters-thejournal.com/index.php/pm" class="">http://performancematters-thejournal.com/index.php/pm</a>. The issue focuses on "Science and Performance," and has been edited by Coleman Nye. <br class=""><br class="">We invite you to review the Table of Contents here and then visit our web site to review articles and items of interest.</div><div class=""><br class="">Thanks for the continuing interest in our work,<br class=""><br class="">Peter Dickinson<br class="">Department of English/School for the Contemporary Arts/Institute for<br class="">Performance Studies, Simon Fraser University<br class=""><a href="mailto:peter_dickinson@sfu.ca" class="">peter_dickinson@sfu.ca</a><br class=""><br class="">Performance Matters<br class="">Vol 3, No 2 (2017): Science and Performance<br class="">Table of Contents<br class=""><a href="http://performancematters-thejournal.com/index.php/pm/issue/view/5" class="">http://performancematters-thejournal.com/index.php/pm/issue/view/5</a><br class=""><br class="">Editorial Notes<br class="">--------<br class="">Science and Performance: The(or)atrical Entanglements and Hauntological Relations (1-15)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Coleman Nye<br class=""><br class="">Articles<br class="">--------<br class="">Shaping Experiment from the Inside Out: Performance-Collaboration in the Cognitive Science Lab (16-40)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Sarah Ann Klein and Tyler Marghetis<br class=""><br class=""></div><div class="">Glass Bellies and Artificial Wombs: Gender, Science, and Performance in Early Modern Alchemy (41-56)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Jennifer M Park</div><div class=""><br class="">Only the Envelope: Opening up participation, surveillance and consent in performance (57-71)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Vahri McKenzie<br class=""><br class=""></div><div class="">Organismal Futurisms in Brown Sound and Queer Luminosity: Getting Into Gressman's Cyborgean Skin (72-91)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Sandra Ruiz<br class=""><br class="">Materials<br class="">--------<br class="">Subjective Object and Everything and Nothing (92-106)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Jane Long<br class=""><br class=""></div><div class="">Analyzing the Analyst: An Experimental Data Video for Thinking Theatre and Cognitive Neuroscience Together (107-118)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Yelena Gluzman<br class=""><br class=""></div><div class="">when they are anonymous they are free (119)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>&/ _[<br class=""><br class="">Reviews<br class="">--------<br class="">Review of On Repetition: Writing, Performance & Art, edited by Eirini Kartsaki (120-122)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Nathan Flaig<br class=""><br class=""></div><div class="">Review of The Routledge Companion to Michael Chekhov (123-126)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Conrad Alexandrowicz<br class=""><br class=""></div><div class="">Review of Performing Queer Modernism, by Penny Farfan (127-128)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Stephen Low</div><div class=""><br class=""></div><div class="">Review of Performance Studies in Canada, edited by Laura Levin and Marlis Schweitzer (129-131)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Jennifer Anne Chutter<br class=""><br class="">________________________________________________________________________<br class="">Performance Matters<br class=""><a href="http://performancematters-thejournal.com" class="">http://performancematters-thejournal.com</a><br class=""><div class="">
<div style="color: rgb(0, 0, 0); letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class="">_________________<br class="">Peter Dickinson, PhD<br class="">604-908-0993 • <a href="mailto:peter_dickinson@sfu.ca" class="">peter_dickinson@sfu.ca</a><br class=""><br class="">Professor, Department of English<br class="">Simon Fraser University • Office: AQ 6117<br class=""><a href="http://www.sfu.ca/english" class="">www.sfu.ca/english</a><br class=""><br class="">Professor, School for the Contemporary Arts<br class="">SFU Woodward’s • Office: GCA 3510<br class="">www.sfu.ca/sca<br class=""><br class="">Director, Institute for Performance Studies<br class="">SFU at Harbour Centre • Office: HC 3205<br class="">www.sfu.ca/ips<br class=""><br class="">Editor, Performance Matters<br class="">performancematters-thejournal.com<br class=""><br class="">At Simon Fraser University, we live and work on the unceded territories of the Coast Salish peoples. I thank the Musqueam (xʷməθkʷəy̓əm), Squamish (Sḵwx̱wú7mesh),and Tsleil-Waututh First Nations for their hospitality.<br class=""><br class=""><br class=""></div>
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