“Shall we playe the good girles”: Playing Girls, Performing Girlhood on Early Modern Stages

This essay investigates the extent to which girlhood functions as a queer category in two theatrical representations of schoolgirls in early seventeenth-century England. It focuses on the depictions of schoolgirls in the anonymous The Wit of a Woman (1604), written for the all-male stage of the professional theatre, and in Robert White’s masque, Cupid’s Banishment (1617), performed by the young Ladies of Deptford Hall before Queen Anna of Denmark, to examine the intersections of age, gender, sexuality and education in early modern concepts of girlhood. Situating these plays within wider debates about female education and the history of the contested role of performance in the schooling of early modern girls, it argues that they deploy the category of girlhood to demonstrate the subversive potential of educating girls. Yet, this essay proposes, these plays simultaneously reveal the potential agency of young women who manipulate girlhood to claim their distinct sexual, aged and gendered states as girls. It argues that early modern girlhood is a state that might be performed by young women to disrupt normative expectations of feminine behaviour and desire. Placing dramatic representations of schoolgirls and the experiences of schoolgirls on the early modern stage side by side, this essay demonstrates that the schoolroom and performance are sites in which this transgressive potential is realised.

Inventors:Marconi's Device for Dialling the Dear Departed, The Flying Fenian

Two short site-specific pieces performed with others at the Royal Ulster Agricultural Show for Kabosh Theatre Company, as part of their continuing effort to broaden theatre audiences. One, using the form of the Edwardian melodrama, tells of Marconi's efforts to create a device to communicate with the dead. The second tells the tale of the Christian Brother who invented the submarine, John Philip Holland.

Monster, Dinosaurs

A short play performed at the Abbey Theatre, Dublin, set in the world of dissident republicanism.

Weirdwolf

A public rehearsed reading for Tinderbox Theatre Company as part of the Pick n Mix drama festival. An allegory for mental illness this blackly comic play tells the story of a man becoming a werewolf.

California performance tour

Collaborative group improvisations: Betalevel, Los Angeles; KZSU Day of Noise, Stanford; Thingamajigs performance at the Museum of California, Oakland; CCRMA Concert, Stanford; EarMeal LA Art Stream, Los Angeles; Outsound at the Luggage Store Gallery, San Francisco (with Matt Ingalls, John Ingle, Ted Byrnes, Edward Schocker & others).

X/Y

A collaboration with the Sonic Arts Research Centre (QUB) and Tinderbox Theatre Company, this lab explores how writers can collaborate with experts in sonic design. The collaboration will result in an initial performance on March 12 2014 (entitled 'X/Y') at the Sonic Arts Research Centre that is open to the public. The audience's comments will then be fed back into the creative process for re-drafting and re-recording. A final performance is planned for the Belfast Festival.

Monsters, Dinosaurs, Ghosts

A stage play for the Abbey Theatre, Dublin 4-27 June 2015

Principles of the performance-based approach for concrete durability

In general, design approaches for durability can be divided into prescriptive design concepts and performance-based design concepts.

Application examples of performance-based specification and quality control

This chapter presents an overview on several performance-based approaches for concrete durability specification and conformity assessment of the as-built structure.

Performing 'The Tragedy of Mariam' and Constructing Stage History

Since the rediscovery of Elizabeth Cary’s drama, The Tragedy of Mariam, the play and its author have generated a veritable critical industry. Yet little has been written about performance, a lacuna explained by a reluctance to think about Mariam as a theatrical creation. This article challenges the current consensus by arguing for the play’s theatrical imprint and by analysing two 2013 performances – a site-specific production at Cary’s birthplace, and a production by the Lazarus Theatre Company. Throughout, Mariam is engaged with in terms of casting, costume, lighting, set and movement, issues that have mostly been bypassed in Cary studies.

Invited Interview on Network Performance in the "Transient Gestures" issue

An issue on Networked Performance produceed by Neural for which I was invited to deliver an interview on network performance. Neural is a printed magazine established in 1993 dealing with new media art, electronic music and hacktivism. It was founded by Alessandro Ludovico and Minus Habens Records label owner Ivan Iusco in Bari (Italy).

Performance and Fault Tolerance of Preconditioned Iterative Solvers on Low-Power ARM Architectures

As the complexity of computing systems grows, reliability and energy are two crucial challenges asking for holistic solutions. In this paper, we investigate the interplay among concurrency, power dissipation, energy consumption and voltage-frequency scaling for a key numerical kernel for the solution of sparse linear systems. Concretely, we leverage a task-parallel implementation of the Conjugate Gradient method, equipped with an state-of-the-art pre-conditioner embedded in the ILUPACK software, and target a low-power multi core processor from ARM.In addition, we perform a theoretical analysis on the impact of a technique like Near Threshold Voltage Computing (NTVC) from the points of view of increased hardware concurrency and error rate.