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This text charts the emergence of a neologism, the ‘feminist performance score’. This term arose through repeated work with, and discussion of, Pauline Oliveros’s 1970 text score  To Valerie Solanas and Marilyn Monroe, In Recognition of their Desperation , focusing on the relationship between the individual and the group that emerges from Oliveros’ interest in Solanas: in turn mirrored in the ‘formal duality’ of textual instructional scores more widely, as printed score and iterative live performance. The text re-introduces the  Womens Work  (1975–78) score magazine project co-edited by Alison Knowles and Annea Lockwood, considering the score collection itself as a feminist project. The concluding section sets the aesthetic of textual instructional performance scores, always already speculative, as  speculatively feminist , through contemporary feminist new materialism, and in particular the work of Karen Barad.

Speculating on the ‘Feminist Performance Score’: Pauline Oliveros, Womens Work and Karen Barad