Six Songs at the End of Sound. No. 1

Sometimes I hate all of my pretty little songs. Sometimes I hate myself. After listening to this you'll want me to add you to the list. That's fine.

Hey Joe

My bluegrass version of the Jimi Hendrix song

Radio Nowhere

My version of the Bruce Springsteen song. In the style he adopted on the Ghost of Tom Joad album. I would prefer it to his version if only he would have agreed to do the vocals. But he didn't, but then I didn't ask, But he would have said no, so why bother?

Oh Yeah!

The first of some 'affirmative' pieces for Parallax. January 23rd 2010

Sphere of Accuracies, Zone of Truth: Art, Sciece and Neutrality

A piece written in collaboration with Frederique Swist for The Neutral Magazine, 2009

Ten Reasons Why E.H. Gombrich Was Not an Art Historian

This was originally written to be put on an online College Art Association forum, in the year following Gombrich's death. The idea was to collect responses, and possibly publish them. The project was abandoned by the CAA, and the paper is unpublished.

This paper has been completely revised for publication in a volume by Jan Bakos, Relativism versus Universalism in the Age of Globalisation and Ernst Hans Gombrich: On the Occasion of the Hundredth Anniversary of E.H.Gombrich's Birth. I will send an updated version on request. (July 2009)

Taking part in it all

Published in exhibition catalogue 'Performance Now and Then' (2009), Gallery North, Northumbria University

Francis Alys: The Clandestine Way. Pedestrian everyday under CCTV or How to walk the path of least surveillance.

pubished in Dardo Magazine n.4 feb-may (2007) 138-155.

The Wild Being of Louise Bourgeois: Merleau-Ponty in the Flesh

published in Romance Studies, Vol. 28 No. 1, January 2010, pp. 47-56

‘Translating John Malkovich’

published in Performance Research, 7:2, 2002.

I'm curious that there have been a number of recent searches for this article. I have quite a bit more unpublished material on this film that could be translated into a much longer article. Plus, eight years later, I can now write less enigmatically.

The politics of becoming(-woman): Deleuze, sex and gender

Unpublished, cite as Cull (2009), presented as part the symposium 'Performance Now and Then' at Gallery North, Northumbria University, UK

How Do You Make Yourself a Theatre without Organs? Deleuze, Artaud and the concept of differential presence

Published in Theatre Research International, Sep. 2009, Vol. 34, No. 3.

This article provides an exposition of four key concepts emerging in the encounter between the philosophical man of the theatre, Antonin Artaud, and the theatrical philosopher, Gilles Deleuze: the body without organs, the theatre without organs, the destratified voice and differential presence. The article proposes that Artaud’s 1947 censored radio play To have done with the judgment of god constitutes an instance of a theatre without organs that uses the destratified voice in a pursuit of differential presence – as a nonrepresentative encounter with difference that forces new thoughts upon us. Drawing from various works by Deleuze including Difference and Repetition, The Logic of Sense, A Thousand Plateaus and ‘One Less Manifesto’, I conceive differential presence as an encounter with difference or perpetual variation as that which exceeds the representational consciousness of a subject, forcing thought through rupture rather than communicating meanings through sameness. Contra the dismissal of Artaud’s project as paradoxical or impossible, the article suggests that his non-representational theatre seeks to affirm a new kind of presence as difference, rather than aiming to transcend difference in order to reach the self-identical presence of Western metaphysics.

"Forms of A-Dress: Performances of the Foreign and Other S-Othern Flows of Transnational Identity"

Published in Social Dynamics, 2007

Against the backdrop of regional integration in South America, most notably
in the form of the trading bloc Mercosur, this article explores the increasingly
unavoidable phenomenon of fluid transnational identity in the context of
other ‘trans’ terminologies: those of translation, both literal and cultural, and
of transgender performance. As these fluid conceptions of language and gender
begin to transform the borders of the nation-state to create regional and even
transoceanic spaces for identity construction and cultural representation,
what are the chances for enhanced South-South transcultural contact,
especially in the wake of the all-too-common legacies of military dictatorship,
political oppression and state terrorism? After all, transgender performance
can be seen to employ many of the same techniques as translation, as well
as nuanced forms of cultural critique and social transformation. Through a
reading of a literary corpus of transgender protagonists, particularly those
taken from the works of the Brazilian author Wilson Bueno, a model for
post-national identity emerges, one that may well hold special promise for
renegotiating the role of hybrid, multilingual and transcultural conceptions of
self and other into the twenty-first century.

Alterdisciplinarity

Published in 'Culture, Theory and Critique', 2008.

Thanatopolitics: On the Use of Death for Mobilizing Political Life

(on the politics of the suicide bomber), Polygraph: An International Journal of Politics and Culture, vol. 18 (2006): 191-215

Can we trust our ground control?

Junctures the Journal of Thematic Dialogue, vol.1, no.11, 2008

This paper argues that academics have become cowardly irrational puppets of an audit technoculture propogated by a flawed managerial ideology.

It examines numerous responses to managerialism, or what has come to be called the 'audit culture', in universities and the role and implementation of computer networks and allied technologies in this phenomenon.

It concludes with a phenomenological reflection on lived experience in universities drawing on the work of Heidegger and the Critical Theorists of the Frankfurt school.