\u2018On Diffraction\u2019 is an invitation to explore the nuanced performativities of the quantum world in and for performance studies. This issue responds to Haraway and Barad\u2019s call for creating urgent, new ways of thinking about the performance and performativity of phenomena that we often take for granted\u2014the world of atoms and photons, waves and wavelengths, microbes and microscopes\u2014that extend beyond human-centred ways of performing the world, in all its vibrancy. We will foreground the spooky, dynamic and subtle ways that diffraction impacts on our understanding of how matter comes to\u00a0matter\u2014on how all things emerge out of tiny indeterminacies that shape us and the world we live in. At the heart of this issue lies the redefining of political response-ability: how we might go about creating new, critical and performance-based investigations into what it is to perform and be performed within an entanglement of non\/human agencies.<\/p>\n
Diffraction for Performance Research\u2009: A new materialist approach to theory\/practice<\/strong> Notes from the Semiotic Chora\u2009: Theatre and performance as affective diffraction<\/strong> Diffracted Readings of the Future\u2009: Practices of \u2018Differentiation-Entanglement\u2019<\/strong> Atmosphere and Intra-action\u2009: Feeling entangled agencies in theatre spaces<\/strong> Stumbling Matters\u2009: On memory as matter that matters<\/strong> Diffraction, Mixture and Cut-Ups in Performing with Plants<\/strong> The Diffraction of Cells\u2009: Places to (mis)carry [artist\u2019s pages]<\/strong> The (Im)possibility of Communicating with Other Species<\/strong> Entangled Gestures and Technical Objects\u2009: Illuminating embodiment and digital experience through diffraction in performance<\/strong> Diffracted Temporalities\u2009: Trajal Harrell\u2019s other dance histories<\/strong> Stranger Things, Secret Cinema and the Transmateriality of Touch<\/strong> Diffraction and \u2018In-Visible Light\u2019\u2009: A case study of vertical dance<\/strong> Dancing Diffraction\u2009: Many bodies make light work in Sasha Milavic Davies and Lucy Railton\u2019s everything that rises must dance (2018)<\/strong> Diffracting the Politicized Spectale\u2009: Queering censorship in the Aichi Triennale<\/strong> Diffractive Co-conspiracy in Queer, Crip Live Art Production<\/strong> Diffracting Virtual Realities\u2009: Towards an A-effected VR<\/strong> The Diffracting Light in Contemporary Theatre<\/strong> Diffractive Dramaturgy\u2009: A performance practice for complicated times<\/strong> Entangled Speech\u2009: Speaking through oral microbes<\/strong> Performing Porosity\u2009: Is there some method?<\/strong> Cutting together-apart (une greffe)<\/strong> Web-Dance\u2019s Era of Ecstasy [review]<\/strong> Productive Ruptures [review]<\/strong> Productive Disorientation Towards a More-than-Human Attunement [review]<\/strong> Diffracting Cybernetic-Existentialism [review]<\/strong>
\nAnnouchka C. Bayley<\/p>\n
\nLaura Hartnell<\/p>\n
\nNatalia Esling, Anna Jayne Kimmel, Azadeh Sharifi, Asher Warren, Asher Warren<\/p>\n
\nSarah Lucie<\/p>\n
\nPer Roar<\/p>\n
\nAnnette Arlander<\/p>\n
\nJoanne ‘Bob’ Whalley<\/p>\n
\nChristina Stadlbauer, Bartaku<\/p>\n
\nEL Putnam<\/p>\n
\nDaniela Perazzo Domm<\/p>\n
\nAnnouchka C. Bayley<\/p>\n
\nRosemary (Rosa) Cisneros, Kate Lawrence<\/p>\n
\nJess McCormack<\/p>\n
\nKyoko Iwaki<\/p>\n
\nBeck Tadman<\/p>\n
\nEleanor Dare<\/p>\n
\nAmy Chan<\/p>\n
\nJon Lee<\/p>\n
\nKlaus Spiess, Maximilian Hauptmann, Lucie Strecker<\/p>\n
\nJJ Chan<\/p>\n
\nTeoma J. Naccarato, John MacCallum<\/p>\n
\nDouglas Eacho<\/p>\n
\nDiana Damian Martin<\/p>\n
\nSarah Lucie<\/p>\n
\nTaylor C. Black<\/p>\n\n\n