Contributors
- Contributors
Ron Eglash is an assistant professor of science and technology studies at Rensselaer Polytechnic Institute and has published in journals ranging from American Anthropologist to Complexity. He is the author of African Fractals: Modern Computing and Indigenous Design (Rutgers University Press, 1999). His anthology Appropriating Technology: Vernacular Science and Social Power is forthcoming from the University of Minnesota Press. His educational software for culturally based mathematics learning in African American, Native American, Pacific Islander, and Latino communities is available for free on-line at http://www.rpi.edu/~eglash/eglash.htm.
Anna Everett is an associate professor of film, TV history and theory, and new media studies at the University of California, Santa Barbara. She is the author of Returning the Gaze: A Genealogy of Black Film Criticism, 1909–1949 (Duke University Press, 2001) and of Digital Diasporas: A Race for Cyberspace (forthcoming from the State University of New York Press). She was a co-organizer of the 2001 “Race in Digital Space” conference at the Massachusetts Institute of Technology.
Tana Hargest is an artist and curator whose work has been exhibited at the Walker Art Center as part of the screening and exhibition of Women in the Director’s Chair, at the Massachusetts Institute of Technology’s List Visual Art Center as part of the exhibition and conference “Race in Digital Space,” and at the Studio Museum in Harlem and the Santa Monica Museum of Art as part of the exhibition Freestyle.
Tracie Morris is a multidisciplinary performance poet who has worked in theater, dance, music, and film and teaches performance poetry at Sarah Lawrence College. She has toured extensively throughout the United States, Canada, Europe, and Asia. Primarily known as a musical poet, she has worked with an extensive range of artists including Donald Byrd, Graham Haynes, Melvin Gibbs, Mark Batson, Leon Parker, Vernon Reid, DD Jackson, Cecilia Smith, the Oliver Lake Quintet, and the David Murray Big Band. Her poetry has been extensively anthologized in literary magazines, newspapers, and books, including 360 Degrees: A Revolution of Black Poets, Listen Up!, Aloud: Voices from the Nuyorican Poets Café, The Outlaw Bible of American Poetry, and Soul.
Alondra Nelson is a doctoral candidate in the graduate program in American studies at New York University and coeditor with Thuy Linh N. Tu and Alicia Headlam Hines of Technicolor: Race, Technology, and Everyday Life (New York University Press, 2001).
Kalí Tal’s scholarship spans a wide range of subjects, from African American literary and critical theory, to trauma studies, to post–World War II U.S. cultural studies, to cyberculture. In addition to her scholarly work, she is an antiracist activist dedicated to merging theory and practice. Currently she is working on a two-volume study comparing African American futurist visions to the representation of Africans and African Americans in futurist works by white fiction writers and critics. Kalí Tal is a professor of humanities at the University of Arizona.
Fatimah Tuggar is a New York–based multidisciplinary artist who combines images and sounds from African and Western life to comment on how technology diversely impacts global and local realities. Her work has been widely exhibited at national and international venues, including the New Museum of Contemporary Art, the Studio Museum in Harlem, P.S. 1 Institute for Contemporary Art, and the Johannesburg Biennale.
Alexander G. Weheliye is assistant professor of English and African American studies at Northwestern University. He is currently working on a manuscript entitled “Phonographies: Grooves in Sonic Afro-Modernity,” which analyzes the interface of black culture with sound recording and reproduction technologies in the twentieth century.
