Review essay Van der Tuin: New feminist materialisms

(via @juspar ):
"A nice review article by Iris van der Tuin in Women's Studies International Forum 34 (2011) 271–277 on New Materialist Feminisms."

The article reviews the following publications:

• Material feminisms, Stacy Alaimo and Susan Hekman (Eds.), Indiana University Press, 2008, 
• The material of knowledge: Feminist disclosures, Susan Hekman, Indiana University Press, 2010, 
• New materialisms: Ontology, agency, and politics, Diana Coole and Samantha Frost (Eds.), Duke University Press, 2010, 
• Carnal knowledge: Towards a “new materialism” through the arts, Estelle Barrett and Barbara Bolt (Eds.), I.B.Tauris, (forthcoming)

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Sally Macarthur, Gilbert Simondon and more

So here's my "my-life-is-too-short-but-these-articles-I'd-otherwise-read-right-now" list of today.
Included: short notes on why these, and full-text pdf links

Have you read it? Will you read it (for me)? Share your thought in 100 words, or even less .. so that we can use the time of our too short lives together more productively.


0.(that is, this before and most of all)

Sally Macarthur


I still haven't had time to properly read her work. But she's clearly a partner in new materialist crime. Or in feminist-deleuzian musicology, as she would probably call it. Her 2010 book is expensive. I'll talk to my librarian. Meanwhile, we'll have to do it with this:

Macarthur, Sally. "A thousand dissonances" in Australian Feminist Studies 2009.

Macarthur, Sally. "A Becoming-Infinite-Cycle in Anne Boyd’s Music: A Feminist-Deleuzian Exploration" in Radical Musicology 3(2008). http://www.radical-musicology.org.uk/2008/Macarthur.htm

See also the full list of publications on her site.

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Brian Massumi, another great crafty generator of life

Semblance and Event - The MIT Press

also on the list: his Parables for the Virtual

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Livestream paperwriting. Shifting musicologies ..

Today: a new experiment, after longterm frustration about paperwriting and the evil facebook distraction that notoriously stands in the way of efficient writing.

Now let's see if postindividualist thoughtstream may actually enhance the product.

Follow the livestream on twitter and join with the hashtag #shiftingmusicologies. This is an invitation to join, help, laugh at, challenge, and criticize the process. And remember, your contrinbutions will be acknowledged, in line with the recently proposed new materialist citation politics.*

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Karen Barad, Myra Hird and Elizabeth Wilson Visit Warwick

Anyone close to Warwick / Manchester on June 13, don't miss this chance to meet these new materialist heroins! (Barad introduced the terms 'intra-action', 'material-discursive', etcetera)

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An unfinished reading/listening/worlding guide for new materialist newbies

[under construction (like everything in life)]

1. Musicologists who certainly can be included in the new materialist generation are:

The most explicit and as far as I know only case of fieldwork-new materialist-musicology is  Milla Tiainen's "Corporeal Voices, Sexual Differentiations: New Materialist Perspectives on Music, Singing and Subjectivity" (2007). (Abstract here, if you don't have full-text access through your library contact me).

Looking back in time, we see that the famous 94 essays on mind/body and on lesbian musicology of Suzanne Cusick are groundbreaking new materialisms at full force.

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Creating life: a beginning

21 May 2010, Aveiro, Portugal.

Judgement Day.

It is time for a change. The end of the World, perhaps, indeed. The end. And the beginning of something new.

Yet we begin with renouncing innovation, for all the artificial change it generates. To 'make difference' is to believe in final salvation or world peace. It is not a difference opposing what has been going on so far, but difference in itself. 


We felt constrained by need to produce difference the innovative way: The expectation of exceptional performance, the burden of talent. We want to affirm instead the lives of those who do not excel, create, innovate: the poor, pathetic, piteous. Their lives too are essential to the production of difference.  Without them we would never felt powerful to act in the first place!

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