My article, “How the Computer Taught Us to See,” is now out with Camera Obscura (Duke University Press)! I’m especially proud of this one: here I use the method of the “horizontal cut” in order to look at the history and development of the visual metaphor of the file, the folder, and the document on the computer desktop as emerging at the same time that racialized medical diagnostic surveillance systems were shifting with regard to the definitions of “queer” and “trans” (or transgender) in the Diagnostic and Statistical Manual, which is still used today by healthcare professionals.

I’m very happy to be able to share a PDF copy of my article on my website so that interested people, including educators and students, can read it if they do not have access to scholarly articles through an institution. You can read and download the PDF of my article below, and you can read the abstract and view the official publication page / citation information on the Camera Obscura website here. Please feel free to read and share widely!

My peer-reviewed article and field review, “Critical Game Studies and Its Afterlives: Why Game Studies Needs Software Studies and Computer History” is now published on Just Tech, the digital publishing platform for the Social Science Research Council!

In this article, I perform a field review of critical game studies’ past, present, and my hopes for the future of the field, linking the study of games to ongoing antiracist, feminist, queer, and trans critiques of games, play, software, and computer history.

You can download a PDF copy of the article below, or read the article on the Just Tech website here: https://just-tech.ssrc.org/field-reviews/critical-game-studies-and-its-afterlives-why-game-studies-needs-software-studies-and-computer-history/

My essay, “Glitch, Body, and Anti-Body” is now live on Outland art magazine -- I’m very much honored to be invited by special editor and glitch theorist Rosa Menkman and EIC Brian Droitcour to write this piece in conversation with Legacy Russell's foundational book, Glitch Feminism.

From the article, I write: "The computer screen is an arbitrary metaphor for order and legibility—an organizing metaphor not unlike the metaphor of the body itself.” Here I look at what it means for the glitch to break down the metaphor of the screen and what it felt like for the metaphor of my own body to break down after I was hospitalized with acute hypoxic respiratory failure after getting sick from COVID in early 2021.

Read for free on Outland’s website here: https://outland.art/legacy-russell-glitch-feminism/

You can also download a PDF version of the article below.

In “A Trans Historiography of Glitches and Errors,” I write about the history of glitch art, video games, and computer history as a vitally transgender history, with artist and programmer Jamie Faye Fenton at the heart of it all.

This article was published in the Feminist Media Histories special issue “Urgent Media and Emergent Art.” You can find my article on the University of California Press website here.

I’ve received quite a number of requests from people interested in reading, especially from those who do not have access to scholarly articles. I’m making it available here — you can download and read below.

In 2019, I was invited by editor Laine Nooney to write a piece for the inaugural issue of ROMchip: A Journal of Game Histories alongside many scholars who have meant a lot to me over the years, including Soraya Murray, Jodi Byrd, TreaAndrea M. Russworm, and many others.

In this article I write about the process of archival discovery, and how much it moved me, when I first visited the Dani Bunten Berry Papers, the only archive that I currently know of that holds the papers and documents of a trans game designer.

I’m including a PDF version of the article below, and you can also read the essay for free on the ROMchip website here: https://romchip.org/index.php/romchip-journal/article/view/76

My article, “Reaching Toward Home” Software Interface as Queer Orientation” centers on the video game Curtain by Dreamfeel.

In this article, I do a deep dive into the game’s severe use of pixelation as a form of software (dis}orientation, and I look at the way the game is designed to present us with a continuous awareness of presence and mediation of the game’s interface.

This article was published in The Velvet Light Trap’s special issue, “Power, Freedom, and Control in Gaming.” You can find my article on Project Muse here, and you can read and download my article below.