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  1. Non/Living Matter, Bioscientific Imaginaries and Feminist Techno-Ecologies of Bioart.Marietta Radomska - 2017 - Australian Feminist Studies 32 (94):377-394.
    Bioart is a form of hybrid artistico-scientific practices in contemporary art that involve the use of bio-materials (such as living cells, tissues, organisms) and scientific techniques, protocols, and tools. Bioart-works embody vulnerability (intrinsic to all beings) and depend on (bio)technologies that allow these creations to come into being, endure and flourish but also discipline them. This article focuses on ‘semi-living’ sculptures by The Tissue Culture and Art Project (TC&A). TC&A’s artworks consist of bioengineered mammal tissues grown over biopolymer scaffoldings of (...)
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  2. Dead Letters.Russell Ford - 2013 - LIT: Literature Interpretation Theory 24 (4):299-317.
    This essay considers Richard Calder’s Dead trilogy as an important contribution to the argument concerning how pornography’s pernicious effects might be mitigated or disrupted. Paying close attention to the way that Calder uses the rhetoric of fiction to challenge pornographic stereotypes that have achieved hegemonic status, the essay argues that Calder’s trilogy provides an important link between debates about pornography and contemporary philosophical discussions of alterity and community. Finally, it argues that, for Calder, sexuality is implicitly predicated on a reconceptualization (...)
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  3. Desired Machines: Cinema and the World in Its Own Image.Jimena Canales - 2011 - Science in Context 24 (3):329-359.
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  4. The Threshold of The Invisible: Said, Conrad, and Imperialism.Russell Ford - 2006 - Philosophy Today 50 (4):463-476.
    Joseph Conrad’s Heart of Darkness is a frequent point of reference for Edward Said’s investigations into the various forces that structure and define the encounter of imperial societies with others. In Culture and Imperialism, Said explains the importance of Conrad’s novella by linking it to his concept of culture as the aesthetic acme of a society that simultaneously marks it and divides it from others. In Heart of Darkness, Said claims, we have a narrative that challenges its own imperial society (...)
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  5. Bullfighting, Sex and Sensation.Hélène Frichot - 2001 - Colloquy 5.
    The investigation that follows will flex in four directions, backwards and forwards, along the elastic threadthat ties the event of the bullfight to sex and thence a warm spill of sensation. In order to enter the fraythat is the bullfight, I will appropriate a term from Gilles Deleuze and Félix Guattari by way of which eachof the four thrusts I advance, or fights I present, can be read as asignifying ruptures [1] . With thisconcept we are encouraged to question the (...)
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