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As today’s catastrophic Covid-19 pandemic exacerbates ongoing crises, including systemic racism, rising ethno-nationalism, and fossil-fuelled climate change, the neoliberal world that we inhabit is becoming increasingly hostile, particularly for the most vulnerable. Even in the United States, as armed white-supremacist, pro-Trump forces face off against protesters seeking justice for African Americans, the hostility is increasingly palpable, and often frightening. Yet as millions of Black Lives Matter protesters demonstrated after the brutal police killing of George Floyd, the current, intersecting crises – worsened by Trump’s criminalization of anti-racism protesters and his dismissal of science – demand a serious, engaged, response from activists as well as artists. The title of this article is meant to evoke not only the state of the unusually cruel moment through which we are living, but also the very different approaches to performance of both Brecht and Artaud, whose ideas, along with those of others – including Benjamin, Butler, Latour, Mbembe, and Césaire – inform the radical, open-ended, post-pandemic theatre practice proposed in this essay. A critically acclaimed dramatist as well as Professor of English and Playwriting at California State University, Northridge, Mitchell’s published volumes of plays include Disaster Capitalism; or Money Can’t Buy You Love: Three Plays; Brecht in L.A.; and Ventriloquist: Two Plays and Ventriloquial Miscellany. He is the editor of Experimental O’Neill, and is currently at work on a series of post-pandemic plays.
We present first imaging results from the PALM-3000 adaptive optics system and PHARO camera on the Hale 5 m telescope. Observations using a vector vortex coronagraph have given us direct detections of the two-ring dusty debris system around the star HD 141569. Our observations reveal the inner clearing in the disk to unprecedentedly small angular separations, and are the most sensitive yet at the H and K bands. We are for the first time able to measure and compare the colors of the scattered light in the inner and outer dust rings, and find that the outer ring is significantly bluer than the inner ring.
Nutrigenomics is the study of how constituents of the diet interact with genes, and their products, to alter phenotype and, conversely, how genes and their products metabolise these constituents into nutrients, antinutrients, and bioactive compounds. Results from molecular and genetic epidemiological studies indicate that dietary unbalance can alter gene–nutrient interactions in ways that increase the risk of developing chronic disease. The interplay of human genetic variation and environmental factors will make identifying causative genes and nutrients a formidable, but not intractable, challenge. We provide specific recommendations for how to best meet this challenge and discuss the need for new methodologies and the use of comprehensive analyses of nutrient–genotype interactions involving large and diverse populations. The objective of the present paper is to stimulate discourse and collaboration among nutrigenomic researchers and stakeholders, a process that will lead to an increase in global health and wellness by reducing health disparities in developed and developing countries.
The ten-minute play is burgeoning in the United States, yet it is a phenomenon which has received virtually no critical attention. Here, a contributing playwright places the ten-minute play – and its cousin, the ‘overnight’ play – within an historical and theoretical context in order to examine the aesthetic and political implications of the genre. Rick Mitchell's discussion thus ranges between the history of the one-act play, Walter Benjamin's essay on storytelling, Bertolt Brecht's notions of ‘complex’ (as opposed to ‘simple’) pleasures and epic acting, Filippo Marinetti's writings on the variety theatre, and Chekhov's ideas about the strengths of the short, nonsensical, vaudeville farce. Rick Mitchell also relates his own recent experience in creating a ten-minute comedy, Acadiana Sludge – written, rehearsed, and performed (off-book) in less than twenty-four hours – and the text of this play augments the article. Rick Mitchell's other plays include Brecht in L.A., Ventriloquist Sex, Urban Renewal, Potlatch, and The Composition of Herman Melville, recently published by Intellect Books. He is an Assistant Professor in the Department of English at California State University, Northridge, where he directs the Northridge Playwrights Workshop, and he has published numerous articles about performance, theory, and playwriting.
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