Below is a continually shifting and growing bibliography of books, articles, films, podcasts, performances and projects that I return to and that continue to shape my research and practice.
For extended bibliographies for each project, please see the project pages.
Abbas Zahedi, MANNA, Performance at the
Whitechapel Gallery, 18 May 2019, https://abbzah.com/2019/09/11/manna-from-below/#blockuniverse.
Alexandra Pirici, Leaking Territories, Performance at the Imperial War Museum, 24 May 2019, http://blockuniverse.co.uk/leaking-territories/.
Anna Lowenhaupt Tsing, The Mushroom at the End of the World (Princeton: Princeton University Press, 2015).
Autumn Brown and adrienne maree brown, ‘How to Survive the End of the World’, podcast, https://www.endoftheworldshow.org.
bell hooks, ‘Choosing the Margin as a Space of Radical Openness’, Framework: The Journal of Cinema and Media No.36 (1989): 15–23.
Clod Ensemble, On The High Road, Performance, 24 April 2019, https://www.clodensemble.com/performance/on-the-high-road/.
Donna Haraway, ‘Situated Knowledges: The Science Question in Feminism and the Privelege of Partial Perspective’, Feminist Studies 14, no. no.3 (1988): 575–99.
Elsa Chêne, MUR/MER, Performance, 11 October 2019, https://www.sadlerswells.com/whats-on/2019/danse-elargie-dance-expanded/.
Alexandra Pirici, Leaking Territories, Performance at the Imperial War Museum, 24 May 2019, http://blockuniverse.co.uk/leaking-territories/.
Anna Lowenhaupt Tsing, The Mushroom at the End of the World (Princeton: Princeton University Press, 2015).
Autumn Brown and adrienne maree brown, ‘How to Survive the End of the World’, podcast, https://www.endoftheworldshow.org.
bell hooks, ‘Choosing the Margin as a Space of Radical Openness’, Framework: The Journal of Cinema and Media No.36 (1989): 15–23.
Clod Ensemble, On The High Road, Performance, 24 April 2019, https://www.clodensemble.com/performance/on-the-high-road/.
Donna Haraway, ‘Situated Knowledges: The Science Question in Feminism and the Privelege of Partial Perspective’, Feminist Studies 14, no. no.3 (1988): 575–99.
Elsa Chêne, MUR/MER, Performance, 11 October 2019, https://www.sadlerswells.com/whats-on/2019/danse-elargie-dance-expanded/.
Gloria Anzaldúa, Borderlands / La Frontera (San Francisco: Spinters / Aunt Lute Book Company, 1987).
Himali Singh Soin, Subcontinentment, Performance at the Whitechapel Gallery, 18 May 2019.
Jacques Lecoq, The Moving Body (New York: Routledge, 1997).
Jane Rendell, Site Writing (London: I. B. Tauris, 2010).
Jota Mombaça, Transitioning towards the Earth, Performance at Soot Breath: On Land, Law and Bodies at Goldsmiths, 18 May 2019.
Lawrence Abu Hamdan, ‘Conflicted Phonemes’, Lawrence Abu Hamdan, accessed 12 July 2019, http://lawrenceabuhamdan.com/#/conflicted-phonemes/.
Matthias Kispert, No More Beyond, 2015, Video, 2015, http://www.matthiaskispert.com/video/no-more-beyond/.
Octavia Butler, Parable of the Sower (New York: Four Walls Eight Windows, 1993).
Patricio Guzmán, Nostalgia for the Light, 2012, https://www.youtube.com/watch?v=fN-P5TvjX3o.
Ursula K. Le Guin, ‘The Carrier Bag Theory of Fiction’, in Dancing at the Edge of the World (New York: Grove Press, 1989), 165–70.
Jacques Lecoq, The Moving Body (New York: Routledge, 1997).
Jane Rendell, Site Writing (London: I. B. Tauris, 2010).
Jota Mombaça, Transitioning towards the Earth, Performance at Soot Breath: On Land, Law and Bodies at Goldsmiths, 18 May 2019.
Lawrence Abu Hamdan, ‘Conflicted Phonemes’, Lawrence Abu Hamdan, accessed 12 July 2019, http://lawrenceabuhamdan.com/#/conflicted-phonemes/.
Matthias Kispert, No More Beyond, 2015, Video, 2015, http://www.matthiaskispert.com/video/no-more-beyond/.
Octavia Butler, Parable of the Sower (New York: Four Walls Eight Windows, 1993).
Patricio Guzmán, Nostalgia for the Light, 2012, https://www.youtube.com/watch?v=fN-P5TvjX3o.
Ursula K. Le Guin, ‘The Carrier Bag Theory of Fiction’, in Dancing at the Edge of the World (New York: Grove Press, 1989), 165–70.