Lauren Berlant is the George M. Pullman Distinguished Service Professor in the Department of English and the Director of the LGBTQ Studies Project and the Artists’ Salon at the Center for the Study of Gender and Sexuality at the University of Chicago. She works on the aesthetics and affects of intimate, political relations in the United States from the 19th century to the present: in particular, formal and informal modes of social belonging or citizenship. She also works on the public circulation of affective disturbances like trauma, love, optimism, and political depression. She is the author of Cruel Optimism (2011); The Female Complaint: The Unfinished Business of Sentimentality in American Culture (2008); The Queen of America Goes to Washington City: Essays on Sex and Citizenship (1997); and The Anatomy of National Fantasy: Hawthorne, Utopia and Everyday Life (1991). She has edited books on Intimacy (2000) and Compassion (2004). Her collaborative work includes The Hundreds (with Kathleen Stewart, forthcoming from Duke), Comedy: An Issue (with Sianne Ngai, 2017); Sex, or the Unbearable (with Lee Edelman, 2014); Our Monica, Ourselves: The Clinton Affair and the National Interest (with Lisa Duggan, 2001); “Sex in Public” (with Michael Warner, 1998); and “Queer Nationality” (with Elizabeth Freeman, 1992).
Kathleen Stewart writes ethnographic experiments to approach the composition and decomp of worlds. Her books include A Space on the Side of the Road: Cultural Poetics in an ‘Other’ America (Princeton, 1996), Ordinary Affects (Duke, 2007), The Hundreds co-authored with Lauren Berlant (forthcoming, Duke) and Worlding (in preparation). She teaches anthropology and writing at the University of Texas, Austin.
Imre Lodbrog has been writing songs for a very long time. His real name is Sébastien Régnier. He also writes screenplays, fiction and other things. Barbara Browning is a performance theorist, novelist and amateur ukuleleist. Together, they recently released a book (Who the Hell is Imre Lodbrog?) and an album (Imre Lodbrog et sa Petite Amie).
Lisa Duggan is Professor of Social and Cultural Analysis at New York University. She is the author of Twilight of Equality: Neoliberalism, Cultural Politics, and the Attack on Democracy (2003), and Sapphic Slashers: Sex, Violence, and American Modernity (2000). She is also the coeditor with Nan Hunter of Sex Wars: Sexual Dissent and Political Culture (1995), and with Lauren Berlant of Our Monica, Ourselves: The Clinton Affair and the National Interest (2001). She cofounded Bully Bloggers with José Munoz and others in 2009, and is now at work on Mean Girl: Ayn Rand and the Culture of Greed.
Anna McCarthy is Professor of Cinema Studies at New York University and is the author of Ambient Television (2001) and The Citizen Machine (2010). She coedited the anthology MediaSpace (2004) and for eight years was a coeditor of Social Text. She is the journal’s current web editor. She is currently working on the visual culture of theocracy in 20th century Ireland.
Alexandra T. Vazquez’s research and teaching interests focus on music, U.S. Latina/o and Latin American Studies, Caribbean aesthetics and criticism, race and ethnicity, and feminist theory. Her book, Listening in Detail: Performances of Cuban Music (Duke University Press 2013), won the American Studies Association’s Lora Romero Book Prize in 2014. Her work has been featured in the journals small axe, American Quarterly, Social Text, Women & Performance, and the Journal of Popular Music Studies; and in the edited volumes Nonstop Metropolis: A New York City Atlas, Reggaeton, and Pop When the World Falls Apart. In 2010-2011, she received a Woodrow Wilson Career Enhancement Fellowship. Prior to coming to NYU, Vazquez was an Assistant Professor in the Department of English and Center for African American Studies at Princeton University (2008-2015) and a Postdoctoral Associate in the Program in Ethnicity, Race, and Migration at Yale University (2006-2008). Vazquez is currently working on Writing Sound: The Florida Project, a new manuscript that investigates Florida as an under-theorized yet vibrant creative laboratory of the circum-Atlantic world.
Germán Labrador Méndez is Associate Professor in the Department of Spanish and Portuguese Languages and Cultures at Princeton University. His research encompasses literary and cultural history, memory studies, poetry, social movements, and urban cultures in Modern and Contemporary Spain. His first book, Letras arrebatadas, Poesía y química en la transición española [Raptured Letters: Chemical Poetry during the Spanish Transition to Democracy], studies how a forgotten group of Spanish underground poets used drugged literature in the symbolization of the historical experience of their generation, from the psychedelic utopias of 1968 to the deadly spread of heroin consumption in the 1980s. His second book, Culpables por la literatura: Imaginación política y contracultura en la transición española (1968-1984) [Guilty of Literature. Political Imagination and Counter-Culture in the Spanish Transition to Democracy (1968-1984)] (2017), analyzes attempts on the part of Spanish countercultures to exceed low intensity post-Francoist democracy through bio-literature and activism in the 1970s. His investigations in progress include two book projects: The Cultural Production of the Crisis in Today’s Spain (2008-2013) is devoted to understanding how popular culture can enter into political confrontation and exercise resistance when–as Judith Butler writes–life becomes precarious; and (the tentatively titled) If Even Statues Do Not Stand: Iconoclasm, Monumentalism, Education, and Political Subjection in Pre-War Spain (1868-1936) is a study of the state’s memorial politics during the Restoration and the birth of the Second Republic, in relation to social engineering but also to political disobedience.