This essay offers critique of the call to specify the context of autoperformance, as if this context were not a construction. Michael Bowman's Killing Dillinger is used as an exemplar of auto‐performance's ability to resist the dismissives that it “preaches to the converted” and “turns away from the other.”
Stored only when both papers are in the corpus — 15 citations exist upstream.
Imported from OpenAlex (CC0) — nothing here is generated.