• Notes on ContributorsVolume 32, Number 2, January 2022

Anthony Alessandrini teaches English at Kingsborough Community College and Middle Eastern Studies at the CUNY Graduate Center. He is the author of Frantz Fanon and the Future of Cultural Politics; the editor of Frantz Fanon: Critical Perspectives; and the co-editor of “Resistance Everywhere”: The Gezi Protests and Dissident Visions of Turkey. His book Decolonize Multiculturalism is forthcoming.

Robert F. Carley is an Associate Professor of International Studies at Texas A&M University, College Station. He is the author of Cultural Studies Methodology and Political Strategy: Metaconjuncture (2021), Gramscian Critical Pedagogy (2021), Culture and Tactics: Gramsci, Race, and the Politics of Practice (2019), Autonomy, Refusal, and the Black Bloc (2019), and Collectivities (2016). His most recent article, "Intersecting Oppressions; Intersecting Struggles: Race, Class, and Subalternity" (2022) appears in the Journal of Class and Culture. He is a member of the Governing Board of the Cultural Studies Association and co-edits Lateral: Journal of the Cultural Studies Association.

Katherine Ford is Professor of Hispanic Studies and Chair of the Department of Foreign Languages and Literatures at East Carolina University. She specializes in Modern Latin American literature, concentrating on theater and performance of the twentieth century. She is the author of essays on Latin American and Latinx theater and of the books Theater of Revisions in the Hispanic Caribbean (2017) and Politics and Violence in Cuba and Argentina (2010). She is currently looking at the connections between theater and film and the role of the humanities in community engagement.

Judith Goldman is the author of four books of poetry, most recently agon (Operating System 2017), and a number of articles on contemporary poetry and poetics; she has performed her work nationally and internationally. In 2019–2020, a collaborative, multi-media installation Open Waters [Northwest Passage + Open Polar Sea + Arctic Plastic] was exhibited at the Burchfield Penney Art Center in Buffalo, NY. Goldman is Associate Professor in the Department of English at SUNY, Buffalo, where she directs its Poetics Program. She is also the Poetry Features Editor for Postmodern Culture.

Geo Maher is a Philadelphia-based writer and organizer, and Visiting Associate Professor of Global Political Thought at Vassar College. He has taught at Drexel University, San Quentin State Prison, and the Venezuelan School of Planning in Caracas, and has held visiting positions at the College of William and Mary's Decolonizing Humanities Project, NYU's Hemispheric Institute, and the National Autonomous University of Mexico (UNAM). He his co-editor of the Duke University Press series Radical Américas and author of five books: We Created Chávez (Duke, 2013), Building the Commune (Verso, 2016), Decolonizing Dialectics (Duke, 2017), A World Without Police (Verso, 2021), and Anticolonial Eruptions (University of California, 2022).

Jose-Luis Moctezuma is a Xicano poet. He is the author of two poetry collections, Place-Discipline (Omnidawn, 2018) and Black Box Syndrome (forthcoming from Omnidawn, 2023). His poetry and criticism have appeared or are forthcoming in Fence, Jacket2, Chicago Review, Modernism/modernity, and elsewhere. He lives and teaches in Chicago.

Chantal Peñalosa (1987, Tecate, Mexico) studied fine arts at the Universidad Autónoma de Baja California and the University of São Paulo. She was awarded the acquisition prize in the XIV Bienal de Artes Visuales del Noroeste and was awarded FONCA fellowships in the Young Artists category (2013–2014 and 2015–2016). In 2014 she was also recipient of the Programa Bancomer-MACG in its 4th edition. Peñalosa’s research-based practice stems from small gestures and interventions in everyday life, which are meant to expound upon notions of labor, waiting, and delay. Repetition is a crucial element in her process, functioning as an allusion to the absurdity, weathering, and alienating effects of work. For Peñalosa repeating actions evoke latent states in which dialogue appears unilateral and time suspended. Her work has been shown in MUAC (2022), Museo Jumex (2021); Museo de Arte Carrillo Gil (2021); M HKA Museum, Belgium (2019); ESPAC, Mexico (2019); XII Bienal FEMSA, Mexico (2018); Museo Amparo, Mexico (2018); CCI Fabrika, Russia (2017); La Tallera, Mexico (2015); ZKM Center for Art and Media, Germany (2015); and MUAC, Mexico (2014), and elsewhere.

Matthew J...

• 贡献者注释，第 32 卷，第 2 期，2022 年 1 月

Anthony Alessandrini在金斯伯勒社区学院教授英语，并在纽约市立大学研究生中心教授中东研究。他是弗朗茨·法农和文化政治的未来的作者；Frantz Fanon：Critical Perspectives的编辑；和“无处不在的抵抗”的联合主编：土耳其的格兹抗议和持不同政见者的愿景。他的书《去殖民化多元文化主义》即将出版。

Robert F. Carley是大学城德克萨斯 A&M 大学国际研究副教授。他着有《文化研究方法论和政治战略：元结合》（2021）、《葛兰西批判教育学》（2021）、《文化与战术：葛兰西、种族和实践政治》（2019）、《自治、拒绝和黑人集团》（ 2019）和集体（2016）。他最近的文章“相交的压迫；相交的斗争：种族、阶级和次要地位”（2022 年）发表在《阶级与文化杂志》上。他是文化研究协会理事会成员和共同编辑横向：文化研究协会杂志。

凯瑟琳福特是东卡罗来纳大学西班牙裔研究教授和外国语言文学系主任。她专攻现代拉丁美洲文学，专注于二十世纪的戏剧和表演。她着有关于拉丁美洲和拉丁戏剧的文章，以及著作《西班牙加勒比地区的修正剧院》（2017 年）和《古巴和阿根廷的政治与暴力》（2010 年）。她目前正在研究戏剧和电影之间的联系以及人文学科在社区参与中的作用。

Judith Goldman是四本诗集的作者，最近一本是agon（操作系统 2017），以及多篇关于当代诗歌和诗学的文章；她在国内和国际上完成了她的工作。2019-2020 年，在纽约布法罗的 Burchfield Penney 艺术中心展出了一个协作的多媒体装置Open Waters [Northwest Passage + Open Polar Sea + Arctic Plastic] 。Goldman 是布法罗纽约州立大学英语系的副教授，负责指导其诗学项目。她还是后现代文化的诗歌专题编辑。

Geo Maher是费城的作家和组织者，也是瓦萨学院全球政治思想的客座副教授。他曾在德雷塞尔大学、圣昆廷州立监狱和加拉加斯的委内瑞拉规划学院任教，并在威廉玛丽学院的非殖民化人文项目、纽约大学的半球研究所和墨西哥国立自治大学 (UNAM) 担任访问职位）。他是杜克大学出版社系列 Radical Américas 的联合主编，并着有五本书：我们创造了查韦斯（杜克，2013 年）、建设公社（Verso，2016 年）、非殖民化辩证法（杜克大学，2017 年）、没有警察的世界（ Verso，2021 年）和反殖民喷发（加利福尼亚大学，2022 年）。

Jose-Luis Moctezuma是一位西卡诺诗人。他是两部诗集的作者，Place-Discipline（Omnidawn，2018 年）和Black Box Syndrome（即将于 Omnidawn，2023 年出版）。他的诗歌和批评已经出现或即将出现在Fence、Jacket2、Chicago Review、Modernism/modernity和其他地方。他在芝加哥生活和教学。

尚塔尔佩纳洛萨（1987 年，墨西哥特卡特）在下加利福尼亚自治大学和圣保罗大学学习美术。她在 XIV Bienal de Artes Visuales del Noroeste 获得了收购奖，并获得了 FONCA 青年艺术家类别的奖学金（2013-2014 和 2015-2016）。2014 年，她还获得了 Programa Bancomer-MACG 第 4 版。Peñalosa 以研究为基础的实践源于日常生活中的小动作和干预，旨在阐述劳动、等待和延迟的概念。重复是她创作过程中的一个关键元素，它暗示了工作的荒谬、风化和疏离效应。对于 Peñalosa 来说，重复的动作会唤起潜在的状态，其中对话似乎是单方面的，时间暂停。她的作品曾在 MUAC (2022)、Museo Jumex (2021) 展出；卡里略吉尔艺术博物馆（2021 年）；M HKA 博物馆，比利时（2019 年）；ESPAC，墨西哥（2019 年）；第十二届 FEMSA 双年展，墨西哥（2018 年）；墨西哥安帕罗博物馆（2018 年）；CCI Fabrika，俄罗斯（2017 年）；墨西哥拉塔莱拉（2015 年）；ZKM 艺术与媒体中心，德国（2015 年）；和 MUAC，墨西哥（2014 年）和其他地方。

马修·杰...