Kaj Ahlsved is a PhD student in musicology at Åbo Akademi University in Turku, Finland. His research focus is on the ubiquitous music of our everyday life and especially how recorded music is used during sport events. He does ethnographic field work in team sports, mainly focusing on Finnish male teams in ice hockey, soccer, pesäpallo (“finnish baseball”), volleyball, floorball and basket. His research is funded by PhD Program in Popular Culture Studies and he is a member of the Nordic Research Network for Sound Studies (Norsound). He holds a master’s degree in musicology and bachelor’s degree in music pedagogy (classical guitar). Kaj is a Finnish-swede living with his wife and three children in the bilingual town of Jakobstad/Pietarsaari. He is, of course, a proud fan of the local soccer team FF Jaro.
Wanda Alarcón is a doctoral candidate of Comparative Ethnic Studies with a Designated Emphasis in Women, Gender, and Sexuality at the University of California, Berkeley where she is writing a dissertation titled: “Sounding Aztlán: Music, Literature, and the Chicana/o Sonic Imaginary”. Her research interests include Chicana/o cultural studies, U.S. ethnic literatures, popular music, sound studies, queer of color theory, and decolonial feminism. At Berkeley she has facilitated the working groups, “Decolonial Feminisms” and “Popular Music in Chicana/o Cultural Studies” at the Center for Race and Gender (CRG). Wanda is originally from Los Angeles and before starting graduate school she created the poetry zine, JOTA (2002 – 2006) and is updating that project by creating an archive for queer Chicana writing in cyberspace. She is a fan of radio genres and podcasts and writes micro radio plays while on the road. She is suspicious of the MP3 format yet enjoys curating party, tribute, and mood themed playlists on Spotify immensely. You can find her on Twitter depending on writing deadlines @esawanda.
Kevin Allred is a musician, activist, and teacher, currently at Rutgers University, where he teaches a signature course he created: “Politicizing Beyoncé.” He lives in Brooklyn, NY with his boyfriend and two elderly dachshunds. Join the Politicizing Beyoncé community at www.facebook.com/politicizingbeyonce. You can also find Kevin at www.kevinallredmusic.com andwww.politicizingbeyonce.com.
Tim J. Anderson is an Associate Professor of Communication and Theatre Arts at Old Dominion University where he studies the multiple cultural and material practices that make music popular. He has published numerous book chapters, refereed journal articles, and two monographs: Making Easy Listening: Material Culture and Postwar American Recording (University of Minnesota Press, 2006) and Popular Music in a Digital Music Economy: Problems and Practices for an Emerging Service Industry (Routledge, 2014). His latest research project focuses on recordings, musicians, listeners and the public sphere. His website is timjanderson.weebly.com and he can be contacted at email@example.com.
Gina Arnold recently received her Ph.D. in the program of Modern Thought & Literature at Stanford University, where she is currently a post doctoral scholar. Prior to beginning graduate work, she was a rock critic. Her dissertation, which draws on historical archives, literature, and films about counter cultural rock festivals of the 1960s and 1970 as well as on her own experience covering the less counter cultural rock festivals of the 1990s, is called Rock Crowds & Power. It is about rock crowds and power.
Michael Austin is Assistant Professor of Media, Journalism, and Film and coordinator of the Interdisciplinary Studies Program in the School of Communications at Howard University where he teaches courses in music production, sound design for film and audio production. He holds a Ph.D. in Humanities – Aesthetic Studies (with a specialization in Arts and Technology) from the University of Texas at Dallas and music degrees from UT-San Antonio and UT-Austin. He is also affiliated with the Laboratoire Musique et Informatique de Marseille, an audio/music technology and informatics lab in Marseille, France, and is co-chair of the Society for Ethnomusiciology’s Special Interest Group for Sound Studies.
Kathleen Battles is Associate Professor and Graduate Director in the Department of Communication and Journalism at Oakland University (MI not CA). She is recently co-editor (with Joy Hayes and Wendy Hilton-Morrow) of War of the Worlds to Social Media: Mediated Communication in Times of Crisis (Peter Lang, 2013), a volume that seeks to draw connections between the War of the Worlds broadcast event and contemporary issues surrounding new media. She is also the author Calling All Cars: Radio Dragnets and the Technology of Policing (University of Minnesota Press, 2010). Her research interests include Depression era radio cultures, the interrelationship between radio, telephones, and automobiles, media and space/time, the historical continuities between “old” and “new” media, and contemporary issues surrounding sexuality and the media.
A Taurus who enjoys the ocean, Airek Beauchamp is currently at SUNY Binghamton pursuing his PhD in Creative Writing. He also studies Composition Pedagogy and Queer Theory, although he is becoming more and more seduced into Sound Studies. He can rock a disco all night or just stay in and maybe catch up on some 30 Rock. Some call him fancy, some call him a bitch, but really he is both. He is a multiplicity of multiplicities, all in one mortal shell.
Tara Betts is the author of the poetry collection Arc and Hue, a Ph.D. candidate at Binghamton University, and a Cave Canem fellow. Tara’s poetry also appeared in Essence, Bum Rush the Page, Saul Williams’ CHORUS: A Literary Mixtape, VILLANELLES, both Spoken Word Revolution anthologies, and A Face to Meet the Faces: An Anthology of Contemporary Persona Poetry. Her research interests include African American literature, poetry, creative writing pedagogy, and most recently sound studies. In the 1990s, she co-founded and co-hosted WLUW 88.7FM’s “The Hip Hop Project” at Loyola University while writing for underground hip hop magazines, Black Radio Exclusive, The Source, and XXL. She is co-editor of Bop, Strut, and Dance, an anthology of Bop poems with Afaa M. Weaver.
China Blue is a two time NASA/RI Space Grant recipient and an internationally exhibiting artist who was the first person to record the Eiffel Tower in Paris, France and NASA’s Vertical Gun. Her acoustic work has led her to be selected as the US representative at OPEN XI, Venice, Italy and at the Tokyo Experimental Art Festival in Tokyo, Japan, and was the featured artist for the 2006 annual meeting of the Acoustic Society of America. Reviews of her work have been published in the Wall Street Journal, New York Times, Art in America, Art Forum, artCritical and NY Arts, to name a few. She has been an invited speaker at Harvard, Yale, MIT, Berklee School of Music, Reed College and Brown University. She is the Founder and Executive Director of The Engine Institute www.theengineinstitute.org.
Yvon Bonenfant is Reader in Performing Arts at the University of Winchester. He likes voices that do what voices don’t usually do, and he likes bodies that don’t do what bodies usually do. He makes art starting from these sounds and movements. These unusual, intermedia works have been produced in 10 countries in the last 10 years, and his writing published in journals like Performance Research, Choreographic Practices, and Studies in Theatre and Performance. He currently holds a Large Arts Award from the Wellcome Trust and funding from Arts Council England to collaborate with speech scientists on the development of a series of participatory, extra-normal voice artworks for children and families; see www.yourvivaciousvoice.com. Despite his air of Lenin, he does frighteningly accurate vocal imitations of both Axl Rose and Jon Bon Jovi.www.yvonbonenfant.com.
Marcus Boon is associate professor of English at York University in Toronto, where he teaches contemporary literature and cultural theory. He is the author of The Road of Excess: A History of Writers on Drugs (Harvard UP, 2002) and In Praise of Copying (Harvard UP, 2010), and the editor of America: A Prophecy! The Sparrow Reader(Soft Skull, 2006) and Subduing Demons in America: Selected Poems of John Giorno 1962-2007 (Soft Skull, 2008). He writes about contemporary music for The Wire and Signal to Noise. He is currently co-editing a book on Buddhism and critical theory, and a new edition of William S. Burroughs and Brion Gysin’s The Third Mind. His current work concerns a crisis in the concept of practice in contemporary life, and various possible remedies.
Bill Bahng Boyer is co-chair of the Society for Ethnomusicology Sound Studies Special Interest Group and a lecturer in music, writing and rhetoric at Dartmouth College. He is also a doctoral candidate in music at New York University, completing a dissertation on public listening in the New York City subway system.
Dr. Mark Brantner is Interim-Director of First-Year Writing and Visiting Assistant Professor in the Writing Initiative at Binghamton University, State University of New York. He earned his BA and MA (American literature and critical theory) from West Virginia University and his PhD (Rhetoric and Composition) from the University of South Carolina. He has done additional graduate work in philosophy and communication at the European Graduate School. He has previously held faculty positions at Potomac State College of West Virginia University and Eastern West Virginia Community and Technical College. His scholarly interests include ancient rhetoric, psychoanalytic theory, and writing program administration.
Alejandra Bronfman is Associate Professor of History at the University of British Columbia, where she teaches courses on Caribbean and Latin American history, historical theory and practice, race in the Americas, and media histories. She is currently working on two projects: , which records the unwritten histories of sonic technologies in the early twentieth century, and Biography of a Sonic Archive, which draws from the extensive career of Laura Boulton to interrogate the use of recordings in the making of a sonic, exotic Caribbean.http://alejandrabronfman.wordpress.com/
Justin Burton is a musicologist specializing in US popular music and culture. He is especially interested in hip hop and the ways it is sounded across regions, locating itself in specific places even as it expresses transnational and diasporic ideas.He is Assistant Professor of Music at Rider University, where he teaches in the school’sPopular Music and Culture program. He helped design the degree, which launched in the fall of 2012, and he is proud to be able to work in such a unique program. His book-length project – Posthuman Pop – blends his interests in hip hop and technology by engaging contemporary popular music through the lens of posthuman theory. Recent and forthcoming publications include an exploration of the Mozart myth as it is presented in Peter Shaffer’sAmadeus and then parodied in an episode of the Simpsons (Journal of Popular Culture 46:3, 2013), an examination of the earliest iPod silhouette commercials and the notions of freedom they are meant to convey (Oxford Handbook of Mobile Music Studies), and a long comparative review of Kanye and Jay Z’s Watch the Throne and the Roots’ Undun (Journal for the Society of American Music). He is also co-editing with Ali Colleen Neff a special issue of theJournal of Popular Music Studies titled “Sounding Global Southernness.” He currently serves on the executive committee of the International Association for the Study of Popular Music-US Branch and is working on an oral history project of the organization. From June 2011 through May 2013, he served as Editor of the IASPM-US website, expanding the site’s offerings with the cutting edge work of popular music scholars from around the world. You can contact him at justindburton [at] gmail [dot] com.
C.L. Cardinale has a PhD in English Literature from University of California, Riverside. Currently she is editing her manuscript on what she calls “look-listening”—deafened gestures—in twentieth century narratives. She also publicly reads Proust, edits for Lettered Press, and sings with her one and six year old in California’s east bay.
Leonardo Cardoso was born in Porto Alegre, Brazil, where he studied music composition at UFRGS (Federal University of Rio Grande do Sul). In 2005 he entered the Ethnomusicology Group at UFRGS as a research assistant. From 2005 to 2008 he participated in projects with indigenous communities in Rio Grande do Sul. In 2008 he started his Master’s in ethnomusicology at the University of Texas at Austin under Prof. Veit Erlmann’s advising. His interest in film music led him to write his thesis on the experimental field of visual music in Los Angeles. He is working on urban noise in São Paulo, where he is currently conducting fieldwork, for his PhD. Leonardo is also a photographer, composer, and sound collector. Contact: firstname.lastname@example.org
Brooke A. Carlson is an Assistant Professor of English Literature at Hankuk University of Foreign Studies in Seoul, Korea. His areas of concentration include Early Modern Drama, English Renaissance, World Literature, Composition, Gender/Race, and Sound. He writes on early modern notions of subjectivity, class, and capitalism, and has published most recently on Jonson and Milton.
Dolores Inés Casillas is an assistant professor in the Department of Chicana and Chicano Studies and a faculty affiliate of Film & Media Studies at the University of California, Santa Barbara. She writes and teaches courses on Latina/o sound practices, popular culture, and the politics of language. Her book, Sounds of Belonging: U.S. Spanish-language Radio and Public Advocacy will be published this fall by New York University Press as part of their Critical Cultural Communication series.
Daniel Cavicchi is Dean of Liberal Arts and Professor of History, Philosophy, and the Social Sciences at Rhode Island School of Design. He is author of Listening and Longing: Music Lovers in the Age of Barnum and Tramps Like Us: Music and Meaning Among Springsteen Fans, and co-editor of My Music: Explorations of Music in Daily Life. His public work has included Songs of Conscience, Sounds of Freedom, an inaugural exhibit for the Grammy Museum in Los Angeles; the curriculum accompanying Martin Scorcese’s The Blues film series; and other projects with the Public Broadcasting System and the National Park Service. He is currently the editor of the Music/Interview series from Wesleyan University Press and serves on the editorial boards of American Music and Participations: the Journal of Audience Research.
Steph Ceraso received her doctorate in 2013 from the University of Pittsburgh, specializing in rhetoric and composition, pedagogy, sound studies, and digital media. In addition to being a three-peat guest writer for Sounding Out!, her work has been featured in Currents in Electronic Literacy, HASTAC, and Fembot Collective. She is also the coediter of a special “Sonic Rhetorics” issue of Harlot. Her current book project, Sounding Composition, Composing Sound, examines how expansive, consciously embodied listening and sonic composing practices can deepen our knowledge of multimodal engagement and production. Steph will be joining the faculty in the English department at the University of Maryland, Baltimore County this fall. You can find more about her research, media projects, and teaching at http://www.stephceraso.com.
Norma Coates is Associate Professor with a joint appointment in the Don Wright Faculty of Music and the Faculty of Information and Media Studies at the University of Western Ontario. She writes and studies about popular music and sound and their interactions and intersections with other things such as gender,
television, film, age, and the entertainment industry.
Debra Rae Cohen is an Associate Professor of English at the University of South Carolina. She spent several years as a rock & roll critic before returning to academe. Her current scholarship, including her co-edited volume Broadcasting Modernism (University Press of Florida, 2009, paperback 2013) focuses on the relations between radio and modernist print cultures; she’s now working on a book entitled “Sonic Citizenship: Intermedial Poetics and the BBC.”
Rui Costa is a sound artist from Lisbon, Portugal. He is a founding member and artistic director of Binaural/Nodar, an arts organization founded in 2004 and dedicated to the promotion of context-specific and participatory art projects in rural communities of the Gralheira mountain range, northern Portugal. Rui has been performing and exhibiting his work since 1998 in festivals, galleries and museums across Portugal, Spain, Italy and the United States and has been collaborating regularly with the Italian vocal performer Manuela Barile and the American intermedia artist Maile Colbert. Rui Costa is also a regular speaker in conferences and gives workshops dedicated to sound art. For more from Binaural/Nodar, please check out the organization’s soundcloud, vimeo, and flickr.
Ashon Crawley is a doctoral student in English at Duke University. His dissertation in progress, tentatively titled “Historicity and Black Studies: The Aesthetics of Black Pentecostalism” is an extension and critique of the disciplining of, in and as “black studies,” focusing on aesthetics, performance and sexuality as a social force with which institutional black studies must contend. He has published work in Souls: A Critical Journal of Black Politics, Culture and Society, The Journal of Theology and Sexuality, Black Theology: An International Journal and in Pneuma: The Journal of the Society for Pentecostal Studies.
Marcia Alesan Dawkins is an award-winning writer, speaker, educator and visiting scholar at Brown University. She is the author of Clearly Invisible: Racial Passing and the Color of Cultural Identity (Baylor UP, 2012) and Eminem: The Real Slim Shady(Praeger, 2013). Marcia writes about racial passing, mixed race identities, media, popular culture, religion and politics for a variety of high-profile publications. She earned her PhD in communication from USC Annenberg, her master’s degrees in humanities from USC and NYU and her bachelor’s degrees in communication arts and honors from Villanova. Contact: www.marciadawkins.com
Monica De La Torre (left in image)is a doctoral student in the Department of Gender, Women and Sexuality Studies at the University of Washington. Her scholarship bridges New Media and Sound Studies by analyzing the development of Chicana feminist epistemologies in radio and digital media production. A member of Soul Rebel Radio, a community radio collective based in Los Angeles, Monica is specifically interested in the ways in which radio and digital media production function as tools for community engagement. She is an active member of the UW Women of Color Collective and the Women Who Rock Collective. Monica earned a B.A. in Psychology and Chicana/o Studies from University of California, Davis and an M.A.in Chicana/o Studies from California State University, Northridge; her master’s thesis was entitled “Emerging Feminisms: El Teatro de las Chicanas and Chicana Feminist Identity Development.” Monica received a 2012 Ford Foundation Predoctoral Fellowship, which recognizes superior academic achievement, sustained engagement with communities that are underrepresented in the academy, and the potential to enhance the educational opportunities for diverse students.
Peter DiCola is an assistant professor of law at Northwestern University. He uses empirical methods and appliedeconomic models to study intellectual property law, media regulation, and their intersection. He received his JD and his PhD in economics from the University of Michigan. His research has centered on the music industry and related industries. In graduate school, he worked with the non-profit Future of Music Coalition on many research projects and he continues to serve on its board of directors. His current work focuses on copyright law’s regime for digital sampling and deregulation in the radio industry.
Mike D’Errico is a PhD student in the UCLA Department of Musicology and a researcher at the Center for Digital Humanities. His research interests and performance activities include hip-hop, electronic dance music, and sound design for software applications. He is currently working on a dissertation that deals with digital audio production across media, from electronic dance music to video games and mobile media. Mike is the web editor and social media manager for the US branch of the International Association for the Study of Popular Music, as well as two UCLA music journals, Echo: a music-centered journal and Ethnomusicology Review.
Jacqueline Dowdell received a B.A. from the University of Michigan and an M.F.A. from Cornell University. She is a communications coordinator at Cornell Law School. Thanks to her mother’s memories, her grandmother’s meticulous archive of Specialty history, and a newfound enthusiasm for sound, she is working on a memoir about the Specialty Record Shop.
Meghan Drury is a fifth-year Ph.D. candidate in the Department of American Studies at the George Washington University. She received an MA in ethnomusicology from UC Riverside in 2006. She is currently working on a dissertation tentatively titled “Aural Exotics: The Middle East in American Popular Music 1950-2011.” This project examines the interplay between popular music and American cultural representations of the Middle East from the mid-20th century to the present, illustrating how music and sound acted a means of consolidating and disseminating a range of ideas about Middle Eastern culture in the American mainstream. She is particularly interested in the way that sound increased the visibility of Arab Americans both before and after 9/11, offering a space for negotiations of identity. More broadly, Meghan’s interests include sound studies, U.S.-Middle East cultural relations, and Arab American cultural performance.
Ian Dunham is a musician and music scholar originally from northeast Ohio. He earned a B.S. from Middle Tennessee State University in the Recording Industry within the College of Mass Communications, and then worked as a recording engineer in Nashville and Germany. Afterward, he earned an M.M. in Ethnomusicology from the University of Texas at Austin, where he also operated a home recording studio. He will start a PhD in Media Studies at Rutgers in the fall, where he will pursue research related to music and copyright
Justin Eckstein is a doctoral candidate and former director of debate at the University of Denver. His work explores the intersection of listening, affect, and argumentation. Justin’s writing has appeared in Argumentation & Advocacy, Relevant Rhetoric, and Argumentation in Context. Currently, he is writing his dissertation on the micropolitics of podcasting in the post-deliberative moment.
Nina Sun Eidsheim is Assistant Professor of Musicology at UCLA. She is working on a book about the moment music enters the body. During 2011-12 she’ll be a fellow at Cornell University, The Society for the Humanities, participating in a research group on Sound: Culture, Theory, Practice, Politics. In addition, she’ll co-convene a University of California Humanities Center Residency Research Group on voice (with Annette Schlichter) during fall 2011.
Everything Sounds is Craig Shank and George Drake Jr. Craig Shank is an Indiana native that developed a passion for music and broadcasting at an early age. While in college, Craig balanced internships, part-time jobs, and volunteer opportunities that allowed him to spend most of his time outside of the classroom in broadcast facilities. His interest in sound and digital media paired with extensive broadcasting experience led Craig to produce Everything Sounds with his longtime friend and collaborator, George Drake Jr. He is fascinated by the cosmos and begrudgingly acknowledges his lactose intolerance. George Drake Jr. grew up in Chicago, but spent time in Indiana and London before returning to the Windy City. His passion for music and background in theatre as a teenager made George a perfect fit in the world of radio. Following his involvement at WIUX, WXRT, and WTTS George took his dedication to his craft to the next level when he traveled overseas to pursue his Masters in Radio at Goldsmiths College, U. of London. George has consistently allowed his ears and intuition to find and promote sounds that will have an impact. His favorite band is The Books, he enjoys a spicy Bloody Mary, and finds any excuse to wear a tie.
Ziad Fahmy is an Assistant Professor of Modern Middle East History at the department of Near Eastern Studies. Professor Fahmy received his History Ph.D. in 2007 from the University of Arizona, where his dissertation “Popularizing Egyptian Nationalism” was awarded the Malcolm H. Kerr Dissertation Award (2008) from the Middle East Studies Association. His first book, Ordinary Egyptians: Creating the Modern Nation through Popular Culture (Stanford University Press, 2011), examines how, from the 1870s until the eve of the 1919 revolution, popular media and culture provided ordinary Egyptians with a framework to construct and negotiate a modern national identity. His articles have appeared in the International Journal of Middle East Studies and in Comparative Studies of South Asia, Africa and the Middle East. Professor Fahmy is currently beginning another book project tentatively titled, Listening to the Nation: Sounds, Soundscapes, and Mass Culture in Interwar Egypt. In 2011-2012, he was a Faculty Fellow at the Society for the Humanities at Cornell University, where the focal theme was “Sound: Culture, Theory, Practice, and Politics.”
Juan Sebastian Ferrada is enjoying his last “real” summer before entering the Chicana and Chicano Studies graduate program at UC Santa Barbara. He will focus on issues of language politics, such as accent studies, bilingualism, and linguistic capital. Currently, he joined the workforce as an event planner and is ecstatic to return to the academic life. A Chileno-Mexicano-L.A. native, Sebastian considers himself a Latina/o Pop Music connoisseur (Julieta Venegas, Paulina Rubio, Calle 13 anyone?). Sebastian resides in his hometown of Whittier, CA.
In his tenth year as a sports broadcaster, Robert Ford can usually be found at the ballpark, basketball arena or football field, depending on the season. Currently a reporter and radio pre- and post-game show host covering Major League Baseball’s Kansas City Royals, Robert has also been a radio play-by-play broadcaster for several minor league baseball, college and high school teams, allowing him to call places like Yakima, WA, Kalamazoo, MI and Binghamton, NY home at various points in his life. When he’s not talking into a headset, Robert is listening to a music collection that includes everything from Steely Dan to Jay Z, playing with his adorable daughter Elena or watching his beloved New York Giants, New York Knicks or Syracuse University Orange flummox their opponents. Robert grew up in the Bronx, NY, where he learned all the Spanish curse words and how to fall asleep on the subway without getting mugged or missing his stop. Follow him on Twitter: twitter.com/raford3 and read his blog: http://radioguydiaries.wordpress.com/
Nicole Brittingham Furlonge earned her PhD in English from the University of Pennsylvania. Her dissertation, “On the Lower Frequencies: Listening and African American Expressive Culture,” marks the beginnings of her investment in sound studies as the field resonates with issues of race, class, gender and education. Her work has been published in the academic journals Callaloo and Interference, and in the publication St. Andrew’s Today. She also has published a cookbook for young children, Kitchen Passports: Trinidad and Tobago. She has taught in independent high schools and colleges for 16 years, including University of Michigan, UPenn, The Lawrenceville School, Holderness School and St. Andrew’s School in Delaware. She has extensive experience in the classroom and in administrative roles dealing with curriculum development, diversity issues, faculty development and issues regarding education, equity and access.Currently, Nicole chairs the English Department at the Princeton Day School in New Jersey and blogs at the Huffington Post. She lives in the green part of New Jersey with her spouse and their three young children.
Christina Giacona is the Director of the Los Angeles New Music Ensemble and Instructor of Music at the University of Oklahoma. Dedicated to performing and researching the music of her generation, Christina teaches courses in Native American, World, and Popular Music. Since founding the Los Angeles New Music Ensemble in 2007, Christina has commissioned and premiered over twenty new works for the ensemble; run an international composers competition, recorded three albums, and collaborated with DJs, MCs, animators, choreographers, projectionists, and film producers.
Benjamin Gold is a freelance writer from New Jersey. His thoughts on music and movies haven’t been published in that many places, but Askmen.com and PLANET° seem to like his work. For Sounding Out!, Ben explores the cultural, sociological, and emotional impact of rock n’roll. He graduated from Rutgers University in New Brunswick and doesn’t really want to go back to school, but he does maintain a personal blog. You can reach him at benjaminjordangold AT gmail.com.
Kariann Goldschmitt is an Adjunct Assistant Professor at New College of Florida and Ringling College of Art and Design. She holds a Ph.D. in Musicology from UCLA (2009) and was the 2009-2011 Mellon Fellow of Non-Western Music at Colby College in Maine. Her scholarly work focuses on Brazilian music, modes of listening, and sonic branding in the global cultural industries. She has published in The Journal of Popular Music Studies, American Music, Yearbook for Traditional Music, and Luso-Brazilian Review and contributes to the South American cultural magazine, Sounds and Colours.
Travis L. Gosa is an Assistant Professor at Cornell University’s Africana Studies & Research Center. He teaches courses on hip hop culture, African American families, and education. He is an advisory board member of Cornell’s Hip Hop Collection, the largest archive on early hip hop culture in the United States. He can be reached at email@example.com and on Twitter @basedprof.
David B. Greenberg is a graduate of Oberlin College, where he studied religion, with an emphasis on Modern American Religious History. His bachelor’s thesis was an ethnographic research study, “Highway Religion: Truckstop Chapels, Evangelism, and Lived Religion on the Road.” David also performs and records as a singer-songwriter, and currently lives in New Jersey.
Carolina Guerrero is the Executive Director of Radio Ambulante. Before getting into journalism, she was a promoter for cultural and social projects, creating a bridge between organizations in three different continents. She has worked with public and private institutions in several countries, for which she has designed and overseen festivals, art exhibits, teaching workshops and fundraising events. Carolina is a John S. Knight Journalism Fellow at Stanford University 2014-15. She is the proud mother of León and Eliseo. (@nuncaduermo)
Mack Hagood is a doctoral candidate at Indiana University’s Department of Communication and Culture, where he does ethnographic research in digital media, sound studies, and popular music. He has taught courses on sound cultures, global media, ethnographic methods, and audio production. He and his students won the Indiana Society of Professional Journalists’ 2012 Best Radio Use of Sound award for their documentary series “I-69: Sounds and Stories in the Path of a Superhighway.” His publications include studies of indie rock in Taiwan (Folklore Forum) and the use of noise-canceling headphones in air travel (American Quarterly). He recently completed an article on combat Foley in Fight Club and is now finishing his dissertation, titled “Sonic Technologies of the Self: Mediating Sound, Space, Self, and Sociality” You can learn more about his work at www.mactrasound.com.
Steven Hammer is a Ph.D. candidate in Rhetoric, Writing, and Culture at North Dakota State University in Fargo, ND, USA. His research deals with various aspects of sonic art, from exploring glitch and proto-glitch practices and theories (e.g., circuit bending), to understanding and producing sound from an object-oriented ontology (e.g., contact microphones). He also researches and facilitates trans-Atlantic translation collaborations between American, European, and African universities. He has multimedia publications with Enculturation, Sensory Studies, as well as forthcoming book chapters with Wiley/IEEE press, and IGI Global Publishing, and has performed creative and academic work at several conferences across North America, including the national Computers and Writing Conference and the Council for Programs in Technical and Scientific Communication. He performs experimental circuit-bent and sampler-based music under the moniker “patchbaydoor,” and has constructed and documented a number of hardware modification projects for his own artistic projects and for other artists in the upper Midwest United States. You can read/hear more atstevenrhammer.com
Brían Hanrahan works on film, media and cultural history, focusing on the history of acoustic media, German and European cinema and the culture of the Weimar Republic. He has published on a range of subjects including the early history of the mobile microphone, avant-garde sound montage, Walter Benjamin and E.A. Dupont. His current book project, The Vivid Thing in the Air: Liveness and Location in Weimar Media, is both a cultural history of location sound and an essay on the historical significance of electro-acoustic indexicality. Hanrahan has a PhD in German Studies from Columbia University. His research has been supported by fellowships from the Social Science Research Council, the Whiting Foundation, the Berlin Program for Advanced German and European Studies, the American Council of Learned Societies, and Cornell’s Society for the Humanities.
Melissa Helquist is an Associate Professor of English at Salt Lake Community College and a PhD Candidate in Technical Communication and Rhetoric at Texas Tech University. Her dissertation research focuses on digital literacy and blindness and explores the use of sound to read, write, and interpret images. She is a 2012-13 HASTAC scholar and the recipient of a 2012-2013 CCCC Research Initiative Grant. She lives in Salt Lake City, where she hikes, camps, and canoes with her husband and daughter.
David Hendy is Professor of Media and Communication at the University of Sussex, England. He wrote and presented the recent 30-part BBC radio series Noise: a Human History, which remains available to download on ITunes. The accompanying book, Noise: a Human History of Sound and Listening, will be published in the US in October 2013 by Harper Collins. He’s the author of Radio in the Global Age (2000), Life on Air: a History of Radio Four (2007), and Public Service Broadcasting (2013), and contributes regularly to radio programmes.
Bridget Hoida is the author of So L.A. (2012). In a past life she was a librarian, a DJ, a high school teacher, and a barista. In this life she experiments with words and has taught writing at UC Irvine, the University of Southern California and is currently a professor at Saddleback College. Hoida is the recipient of an Anna Bing Arnold Fellowship and the Edward Moses prize for fiction. She was a finalist in the Joseph Henry Jackson/San Francisco Intersection for the Arts Award for a first novel and the William Faulkner Pirate’s Alley first novel contest. Her short stories have appeared in the Berkeley Fiction Review, Mary, and Faultline Journal, among others, and she was a finalist in the Iowa Review Fiction Prize and the Glimmer Train New Writer’s Short Story Contest. Her poetry has been recognized as an Academy of American Poets Prize finalist and she was a Future Professoriate Scholar at USC. She has a BA from UC Berkeley and a Ph.D. in Literature and Creative Writing from the University of Southern California. So L.A. is her first novel.
Shakira Holt is a thirteen-year classroom veteran and currently teaches high school English in Los Angeles County. She earned a doctorate degree in English from the University of Southern California, and works primarily in the area of black women’s literature and culture. She is deeply concerned about the intersections of race, religion, gender, sexuality, class, and politics in the public sphere. She is a lazy poet, a latent novelist, an intermittent blogger, a retired songwriter, and a reluctant karaoke singer. A licensed Baptist minister, she is but slowly working her way back to the pulpit. “I Love to Praise His Name” is her first published piece.
Joshua Hudelson is a Ph.D. student in the Music department at NYU. He received his MA in Digital Musics from Dartmouth College, where he conducted ethnographic fieldwork on the Electronic Voice Phenomenon community. He is currently writing about the Noiseless Typewriter.
John Hyland recently completed his dissertation on sound, poetics, and the black diaspora, titled “Atlantic Reverberations: The Sonic Performances of Black Diasporic Poetries,” at the University at Buffalo, SUNY. His poems, essays, and reviews have appeared (or are forthcoming) in a range of journals, such as The Journal of Postcolonial Writing, College Literature, and Borderlands. Recently, he has enjoyed performing with the Buffalo Poets Theater and co-edited a special issue of the poetry journal kadar koli on the relationship between violence and the expressive arts.
Robin James is Associate Professor of Philosophy at UNC Charlotte. She is author of two books: I will be published by Zer0 books this fall, and I was published by Lexington Books in 2010. Her work on feminism, race, contemporary continental philosophy, pop music, and sound studies has appeared in The New Inquiry, Hypatia, differences, Contemporary Aesthetics, and the Journal of Popular Music Studies. She is also a digital sound artist and musician. She blogs at its-her-factory.com and is a regular contributor to Cyborgology.
Erik Granly Jensen is associate professor at the Department for the Study of Culture at the University of Southern Denmark. He is the research leader of The Nordic Research Network for Sound Studies, sponsored by Nordforsk 2011-2014. He is also the co-editor of the online journal SoundEffects and a founding member of ESSA, The European Sound Studies Association. His most recent research areas include historical sound archives and radio art. Contact: firstname.lastname@example.org
Dr. Imani Kai Johnson is a Ford Dissertation Fellow, who has just completed a three year postdoctoral fellowship at NYU’s Performance Studies Department. She received her PhD in American Studies & Ethnicity at the University of Southern California in 2009, where she wrote a dissertation titled,”Dark Matter in B-Boying Cyphers: Race and Global Connection in Hip Hop,” which considers the cultural and performative dimensions of Hip Hop dance as a global phenomenon through cyphers (dance circles), and the invisible forces of the collaborative ritual. Dr. Johnson is currently completing a manuscript based on her dissertation.
Randolph Jordan wanted to be a rock star. Academia seemed a responsible back-up option – until it became clear that landing a professor gig would be harder than topping the Billboard charts. After completing his Ph.D. in the interdisciplinary Humanities program at Concordia University in 2010 he floated around Montreal classrooms on contract appointments before taking up a two-year postdoctoral research fellowship in the School of Communication at Simon Fraser University. There he has been investigating geographical specificity in Vancouver-based film and media by way of sound studies and critical geography, research that will inform the last chapter of his book Reflective Audioviewing: An Acoustic Ecology of the Cinema (now under contract at Oxford University Press). If you can’t find him hammering away at his manuscript, or recording his three young children hammering away at their Mason & Risch, look for him under Vancouver’s Burrard Bridge where he spends his “spare time” gathering film and sound material for his multimedia project Bell Tower of False Creek. Or visit him online here: http://www.randolphjordan.com
Jeanette S. Jouili is a 2011-2012 fellow at Cornell’s Society for the Humanities. She has also held a Postdoctoral position at the Amsterdam Institute for Social Science Research at Amsterdam University where she did research on the (pious) Islamic cultural and artistic scene in France and the UK.. In 2007, she received her PhD jointly from the Ecole des Hautes Etudes en Sciences Sociales in Paris (France) and the European University Viadrina in Frankfurt/Oder (Germany). Jeanette has published in various journals including Feminist Review, Social Anthropology, and Muslim World. She is currently completing a book manuscript based on the material of her PhD dissertation provisionally titled Pious Practice and Secular Constraints: Women in the Islamic Revival in France and Germany. Jeanette’s research and teaching interests include Islam in Europe, Islamic revivalism, secularism, pluralism, popular culture, moral and aesthetic practices, and gender.
Damien Keane is an assistant professor in the English department at the State University of New York at Buffalo. He is nearing the completion of a manuscript entitled Ireland and the Problem of Information.
Amanda Keeler (Ph.D., Indiana University, 2011) is a Visiting Assistant Professor at Bucknell University. She teaches courses in film and media studies. Her current research focuses on historical emergent film, radio, and television; media history; media industries; and contemporary television.
Sarah Kessler is a Ph.D. candidate in Comparative Literature at the University of California, Irvine, where she is writing a dissertation on ventriloquism in contemporary British and U.S. popular culture. She received an M.A. in Modern Studies from the University of Wisconsin-Milwaukee in 2008. Kessler’s writing on art, film, and media has appeared in artforum.com, the Brooklyn Rail, In These Times, and Public Books, among other publications, and she has held editorial positions at Triple Canopy and Afterall: A Journal of Art, Context and Enquiry. She is currently completing an article on the documentary work of ventriloquist Nina Conti.
Roshanak Kheshti is Assistant Professor of Ethnic Studies and affiliate faculty in the Critical Gender Studies Program at the University of California, San Diego. She is currently completing a manuscript entitled “Modernity’s Ear: The Aural Imaginary and the World Music Culture Industry,” which theorizeshow an other to the listening self is racialized and gendered within the world music listening event. She has published in American Quarterly, Feminist Studies, Hypatia and Parallax.
Bill Kirkpatrick is Assistant Professor of Media and Cultural Studies in the Communication Department at Denison University. His ongoing research and teaching interests include media history and cultural policy; impacts of popular culture on American public life; theories, practices, and future of citizen-produced media; and media and disability. He is also co-producer of Aca-Media, a monthly podcast that presents an academic perspective on media. You can find out more at www.billkirkpatrick.net.
Nicholas Knouf is a PhD candidate in information science at Cornell University in Ithaca, NY. His research explores the interstitial spaces between information science, critical theory, digital art, and science and technology studies. His dissertation, “Noisy Fields: Interference, Elusiveness, and Embodied Temporality in Sonic Practices,” examines the sonic and informatic characteristics of noise across a set of disparate disciplines, arguring for an attention to the equivocality of noise as a material-discursive phenomenon. He is also a media artist whose pieces engage with academic publishing, ad-hoc networking, and non-speech vocalizations. More information about his research and practice can be found at http://zeitkunst.org.
Melle Jan Kromhout is PhD Fellow at the Amsterdam School for Cultural Analysis, University of Amsterdam. His research project entitled “Noise Identities” focuses on the revaluation of noise in recorded sound and music. The project aims to develop noise identities as a concept for assessing the relation between recording media and musical significance. He presented his work at conferences around the globe and published several articles including “‘Over the Ruined Factory There’s a Funny Noise': Throbbing Gristle and the mediatized roots of noise in/as music” (2011), “As Distant and Close as Can Be. Lo-fi Recording: Site-specificity and (In)authenticity” (2012), “An Exceptional Purity of Sound: Noise Reduction Technology and the Inevitable Noise of SoundRecording” (2014) and “’Antennas Have Long Since Invaded Our Brains’: Listening to the ‘Other Music’ in Friedrich Kittler” (forthcoming, 2015).
Danijela Kulezic-Wilson teaches film music, film sound, and comparative arts at University College Cork. Her research interests include approaches to film that emphasize its inherent musical properties, the use of musique concrète and silence in film, the musicality of sound design, and musical aspects of the plays of Samuel Beckett. Danijela’s publications include essays on film rhythm, musical and film time, the musical use of silence in film, Darren Aronofsky’s Pi, P.T. Anderson’s Magnolia, Peter Strickland’s Katalin Varga, Gus Van Sant’s Death Trilogy, Prokofiev’s music for Eisenstein’s films, and Jim Jarmusch’s Dead Man. She has also worked as a music editor on documentaries, short films, and television.
Mary Caton Lingold is a doctoral candidate in English at Duke University researching early Afro-Atlantic literature, music, and sound. She leads a collaborative experiment called the Sonic Dictionary at Duke’s Audiovisualities Lab and co-directs Soundbox, a project dedicated to enhancing the practice of using sound in digital scholarship.
Eric Lott teaches American Studies at the University of Virginia. He has written and lectured widely on the politics of U.S. cultural history, and his work has appeared in a range of periodicals including The Village Voice, The Nation, New York Newsday, The Chronicle of Higher Education, Transition, Social Text, African American Review, PMLA, Representations, American Literary History, and American Quarterly. He is the author of the award-winning Love and Theft: Blackface Minstrelsy and the American Working Class (Oxford UP, 1993), from which Bob Dylan took the title for his 2001 album “Love and Theft.” Lott is also the author of The Disappearing Liberal Intellectual (Basic Books, 2006). He is currently finishing a study of race and culture in the twentieth century entitled Tangled Up in Blue: The Cultural Contradictions of American Racism.
Bronwen Low is an Associate Professor in the Department of Integrated Studies in Education at McGill University. She researches the implications of popular culture for education, curriculum theory, and adolescent (multi)literacy practices. Areas of interest include hip-hop and spoken word culture; informal, arts-based and participatory education with youth; and community media and participatory video programs.
Caitlin Marshall is a PhD Candidate in Performance Studies at UC Berkeley. A vocalist herself, Caitlin applies her practice-based knowledge of voice towards the study of what it meant to ‘sound American’ during the nation’s first independent century. Focusing on ‘Othered’ American vernaculars at the intersections of race, disability, gender, and ethnicity, her dissertation, ‘Power in the Tongue’: Crippled Speech & Vocal Culture in Antebellum America, takes seriously the metaphor of voice in American democracy, and works at the confluence of Performance, Sound, and Disability Studies to mobilize speech impairment as a broad material and theoretical category for investigating how American citizenship was established as an exclusionary vocal limit in the antebellum era.
Owen Marshall is a PhD candidate in Science and Technology Studies at Cornell University. His dissertation research focuses on the articulation of embodied perceptual skills, technological systems, and economies of affect in the recording studio. He is particularly interested in the history and politics of pitch-time correction, cybernetics, and ideas and practices about sensory-technological attunement in general.
Carter Mathes is an assistant professor of English at Rutgers University. He has completed a book manuscript entitled, Imagine the Sound: Experimental Form in Post-Civil Rights African American Literature, that focuses on the relationship between sound and literary innovation during the 1960s and 1970s. He is co-editing a volume of essays on Black Arts Movement writer and critic Larry Neal; and also has essays in print or forthcoming on Toni Cade Bambara, Peter Tosh, and James Baldwin. At Rutgers, he regularly teaches classes focusing on African American literature, Twentieth-century literature, music and literature, and experimental writing.
Tom McEnaney is an Assistant Professor of Comparative Literature at Cornell University. His work focuses on the connections between the novel and various sound recording and transmission technologies in Argentina, Cuba, and the United States. He is currently at work on a manuscript tentatively titled “Acoustic Properties: Radio, Narrative, and the New Neighborhood of the Americas.”
Marci R. McMahon received her Ph.D. from the University of Southern California with affiliations in the Department of American Studies and Ethnicity. She is an assistant professor at the University of Texas, Pan American, where she teaches Chicana/o literature and cultural studies, gender studies, and theater and performance in the Departments of English and Mexican American Studies. She is the author of Domestic Negotiations: Gender, Nation, and Self-Fashioning in US Mexicana and Chicana Literature and Art published by Rutgers University Press’ Series Latinidad: Transnational Cultures in the United States (May 2013). Her essays on Chicana literature and cultural studies have been published in Aztlán: A Journal of Chicano Studies; Chicana/Latina Studies: The Journal of MALCS; and Frontiers: A Journal of Women’s Studies. Her second book project, Sounding Latina/o Studies: Staging Listening in US Latina/o Theater explores how contemporary Latina/o drama uses vocal bodies and sound to engage audiences with recurring debates about nationhood, immigration, and gender.
Dr. Andrea Medrado is a Lecturer at the Media School of Bournemouth University in the UK. She has an extensive academic background in media studies as well as professional experience in advertising as a creative writer. Andrea is also an experienced ethnographer. Her current research delves into issues of social exclusion, analyzing the ways in which the favelas (slums or shanty towns) are featured in the “promotion” of Rio as an Olympic city to a global audience. One of the key questions is: how are the favelas making themselves heard during the preparations for the mega events through the sounds that the residents produce? Her doctoral thesis (University of Westminster, 2010) was an ethnographic study about the practices of daily listening in a Brazilian favela. Outside of academia, she has worked as a creative writer in both advertising agencies and a number of political campaigns in Brazil. Her research interests include auditory culture and sound studies, alternative and community media, political communications, and media ethnography. You can contact her at email@example.com; firstname.lastname@example.org.
Jeb Middlebrook holds a Ph.D. and M.A. in American Studies and Ethnicity from the University of Southern California, and a B.A. in Ethnic Studies from the University of Minnesota. He is Director of the Solidarity Institute, and a Lecturer in Race, Social Movements, and Popular Culture at People’s University, in partnership with the University of Colorado–Colorado Springs. His current book manuscript is titled, Black, Brown, Red, Yellow and White: Autonomous-Affiliate Organizing and Multiracial Movement-Making. Jeb’s work has been recognized by the Ford Foundation, the Harry S. Truman Foundation, the Council of Editors of Learned Journals, and the American Studies Association. He can be reached at email@example.com, and on Facebook and Twitter.
April Miller is an Assistant Professor and Director of Film Studies at the University of Northern Colorado. Her research focuses primarily on the intersections between literature, film and socio-scientific concerns such as criminality and mental illness. She is currently completing a book manuscript, Offending Women: Modernism, Crime, and Creative Production, which investigates the female criminal and her often-overlapping sites of representation in literature, journalism, and silent film.
madison moore (Ph.D., American Studies, Yale University, 2012) is a research associate in the Department of English at King’s College London. Trained in performance studies and popular culture, madison is a DJ, writer and pop culture scholar with expertise in nightlife culture, fashion, queer studies, contemporary art and performance, alternative subcultures and urban aesthetics. He is a staff writer at Thought Catalog, Splice Today, and his other writing has appeared in Vice, Interview magazine, Art in America, Dancecult: Journal of Electronic Dance Music Culture, the Journal of Popular Music Studies and Theater magazine. He is the author of the Thought Catalog original e-book How to Be Beyoncé. His first book, The Theory of the Fabulous Class, will be published by Yale University Press.
Nancy Morales is a faculty lecturer for the Latina/o Studies minor in the Center for the Study for Culture, Race and Ethnicity (CSCRE) at Ithaca College. Morales has research interests in U.S third world feminist theory, immigration policy, labor relations, critical ethnic studies, cultural and sound studies. She focuses on how Latina/o workers and immigrant workers have been excluded from the ranks of the working-class because of their racial, cultural, gender and immigration-status differences. She received a B.A. in Social Psychology from UC Santa Cruz and a Master’s from Cornell’s Institute for Public Affairs with a minor in Latina/o Studies. Morales has done research for the National Day Laborer Organizing Network (NDLON) and for the National Domestic Workers Alliance (NDWA) in order to further explore how race and gender become necessary for understanding workers’ struggles within the Immigration, Labor, and Civil Rights Movements.
Roger Moseley is an Assistant Professor in the Department of Music at Cornell University. His most recent research brings a media-archaeological perspective to bear on musical performance and improvisation. He is particularly interested in how the concept of play informs sonic practices and cultural techniques. Active as a collaborative pianist on both modern and historical instruments, he has recently published essays on digital games in the contexts of musical and visual culture. His current book project is entitled Digital Analogies: Interfaces and Techniques of Musical Play.
Seth Mulliken is a Ph.D. candidate in the Communication, Rhetoric, and Digital Media program at NC State. He does ethnographic research about the co-constitutive relationship between sound and race in public space. Concerned with ubiquitous forms of sonic control, he seeks to locate the variety of interactions, negotiations, and resistances through individual behavior, community, and technology that allow for a wide swath of racial identity productions. He is convinced ginger is an audible spice, but only above 15khz.
Timothy Murray is Professor of Comparative Literature and English and Curator of the Rose Goldsen Archive of New Media Art (http://goldsen.library.cornell.edu/). He sits on the International Advisory Board of the Consortium of the Humanities Centers and Institutes (CHCI) and the Executive Committee of the Humanities, Arts, Science, and Technology Advanced Collaboratory (HASTAC). He is Co-Moderator of the -empyre- new media listserv and the author of Digital Baroque: New Media Art and Cinematic Folds (Minnesota 2008); Zonas de Contacto: el arte en CD-ROM (Centro de la imagen, 1999); Drama Trauma: Specters of Race and Sexuality in Performance, Video, Art(Routledge, 1997); Like a Film: Ideological Fantasy on Screen, Camera, and Canvas(Routledge, 1993); Theatrical Legitimation: Allegories of Genius in XVIIth-Century England and France (Oxford, 1987). He is editor of Mimesis, Masochism & Mime: The Politics of Theatricality in Contemporary French Thought (Michigan, 1997) and, with Alan Smith, Repossessions: Psychoanalysis and the Phantasms of Early-Modern Culture(Minnesota, 1997). His curatorial projects include CTHEORY MULTIMEDIA (http://ctheorymultimedia.cornell.edu/) and Contact Zones: The Art of the CD-Rom (https://contactzones.cit.cornell.edu/).
Jordan Musser is a graduate student in the musicology program at Cornell University. He has a primary interest in the social practice of musical aesthetics, with a focus on roles of the avant-garde in popular culture. Using theoretical frameworks from media, performance, and cultural studies, his recent projects have investigated virtuosity in 19th-century Europe, musical reenactment, the sonic imaginary, and politics of musical mythologization. In 2012, Jordan earned the M.A. in the Humanities from the University of Chicago. Before arriving at Cornell, he was an editorial assistant with Grove Music Online, and held teaching positions from the early childhood to high school levels
Sionne R. Neely received her Ph.D. in August 2010 in American Studies & Ethnicity from the University of Southern California. Her dissertation examines how music artists in Ghana create transnational work alliances in response to shifting political regimes under independence, from Kwame Nkrumah’s administration to the present. Since 2005, Dr. Neely has recorded and archived more than 150 interviews with creative artists and industry professionals based in Ghana. In 2010, Dr. Neely co-founded ACCRA [dot] ALT, a cultural organization that promotes the alternative work of emerging Ghanaian artists through innovative programming and international exchange with artists worldwide. In 2011, she co-produced the Accra homecoming concert and documentary film for hip hop artist Blitz the Ambassador and Afro-Pean soul duo, Les Nubians. She is co-producer of Gbaa Mi Sané (Talk To Me), a short documentary film that explores the creative process of young visionary artists in Ghana (to be released in Summer 2013). Dr. Neely will also publish an article on hip hop practices in Ghana in the forthcoming Cambridge Companion Series (Fall 2013).
Tavia Nyong’o is Associate Professor of Performance Studies at New York University, where he writes, researches and teaches critical black studies, queer studies, cultural theory, and cultural history. His first book, The Amalgamation Waltz: Race, Performance, and the Ruses of Memory(Minnesota, 2009), won the Errol Hill Award for best book in African American theatre and performance studies. Nyong’o has published articles on punk, disco, viral media, the African diaspora, film, and performance art in venues such as Radical History Review, Criticism, TDR: The Journal of Performance Studies, Women & Performance: A Journal of Feminist Theory, Women Studies Quarterly, The Nation, and n+1. He is co-editor of the journal Social Text.