Devises a theoretical framework to think through the politics of transmission within feminism. It draws upon and develops the work of Bernard Stiegler to create a theoretical apparatus that can analyze the politics of transmission within digital culture.

In Kate Bush’s 1993 album, The Red Shoes, and her film, The Line, the Cross and the Curve, she engages with the symbolism of The Red Shoes fairytale as first depicted in Hans Christian Andersen’s 1845 fairy tale and later developed by the Powell and Pressburger film of the same name. In Bush’s versions of the tale she attempts to find a space of agency for the main female protagonist in a plot structure over-determined by patriarchal narrative and symbolic logic. (...) I will argue that it is through her own use of mystical symbolism — the Line, the Cross and the Curve — mediated through the deployment of ritual magick and kabbalistic ritual — that she breaks the ‘spell’ of the red shoes story where the main female character can escape the gender specific ‘curse’ of the red shoes. (shrink)

This article presents a conceptual approach to feminist history that focuses on the strategies activists use in different temporal and spatial locations. The argument builds on recent insights within feminist theory and historiography that reveal an intimate relationship between historiography and epistemology in knowledge politics. This article, however, probes the limitations of this relationship by focusing on how current historiographical methods exclude or dilute the actions and events of history through representation and citation. By examining the work of Jamaican theatre (...) collective Sistren, and Bristol agit-prop group Sistershow, the article presents two ways to rethink temporality that makes those histories resistant to representation. This article argues for a more careful historiography that can do justice to the action of different historical temporalities. In the process, it opens emergent spaces and temporal challenges for feminist knowledge politics. (shrink)

This article examines one of the main epistemological frameworks that feminist theory has used for the past 30 years: essentialism and anti-essentialism. It explores what is at stake by continuing to use such perspectives within the late days of the early 21st century, and how it is linked to a performance of critical sophistication which has specific political consequences. Instead of seeing the body as essentialist, the author draws on two examples — popular musician Kate Bush and ontological ideas about (...) the Goddess — to present the body as immanent flesh. This has implications for thinking through different forms of relational and critical perspectives circulating in the current climate, and the author argues that the recent introduction of affect and the increasing interest in haptic knowledges is part of the immanent flesh’s potential for transforming knowledge and the wider world. (shrink)