This chapter considers how the performance of ecosexuality suggests ontologies of both performance and the material world that figure performances as materializing phenomena in which material entities do not merely interact but are intra-actively produced.

In this article, Cleo Woelfle-Erskine brings the theory of a transfigured watershed body to bear on human-beaver-salmon encounters at two salmon-recovery sites in the Pacific West: a Karuk-led project on the Klamath River and a citizen science/agency collaborative project along the beaverless Salmon Creek and Russian River.

One of the things I most cherish about having an interdisciplinary practice is the opportunity to think about how ideas from one context can enhance another. I spent the past week on a residency at Mount Tremper Arts for iLAND (Interdisciplinary Laboratory for Art, Nature, and Dance), as part of a collaboration called Fieldwork: Seed Dispersal with Jan Mun and Emily Drury, which investigates relationships between the migration of seeds and of people.

"Okay! As we continue our guitar journey, we need to talk about how you're going to be attacking the strings. And I'm going to recommend that you use a pick." David's tone is upbeat and encouraging, as always, and he seems to be looking right at me -- his ability to make eye contact with the camera is uncanny.

In my last blog post, I wrote about the ways the Israeli artist Ohad Meromi’s recent installation “Creative Circle” allows its viewers to bodily encounter a set of objects that already exist in relationship. It’s understandable that we’d feel embodiment when we encounter performance (and, as Allison Carruth points out in her post on Jònsi, the gestural often hums along under the radar of critical engagement: when we attend to it, our own somatic encounters with performance can be startling).