Feminism and Physics underpin the theory of Diffraction. Re-turning as a multiplicity of processes is central to the work of diffractive theorists like Karen Barad and Donna J. Haraway. This paper explores diffraction from the perspective of the dancing and performing body, using as a case study Vertical Dance Kate Lawrence’s (VDKL) Yn y Golau/In-visible Light (YYG). Diffractive principles inspired VDKL and the Photonics Academy of Wales Bangor (PAWB) to discover how invisible aspects of light might be made visible to audience members, particularly those who had visual impairments. We will argue that a diffraction process occurs for audiences as YYG requires them to make meaningful correspondences between phenomena in different mediums: dance/objects/scientific ideas/spoken word/music. We draw on Barad’s (2003 Barad, Karen (2003) ‘Posthumanist performativity: Toward an understanding of how matter comes to matter’, Signs: Journal of women in culture and society 28(3): 801–31. doi: 10.1086/345321[Crossref], [Web of Science ®] , [Google Scholar]) notion of ‘correspondences’ to highlight the connections between the various components in the performance space.

女权主义和物理学是衍射理论的基础。作为多重过程的回归对于诸如卡伦·巴拉德（Karen Barad）和唐娜·J·哈拉威（Donna J. Haraway）这样的衍射理论家的工作至关重要。本文从舞蹈和表演身体的角度探讨了衍射，并以“垂直舞蹈”凯特·劳伦斯（VDKL）的Yn y Golau /不可见光（YYG）为例进行了研究。衍射原理启发了VDKL和威尔士光子学院Bangor（PAWB）了解如何使听众，尤其是那些有视觉障碍的听众看到光的不可见面。我们将争辩说，由于YYG要求观众在不同媒介（舞蹈/物体/科学观念/口语/音乐）之间的现象之间进行有意义的对应，因此发生了衍射过程。我们借鉴了Barad's（2003 巴拉德·卡伦（Barad，Karen）（2003年），“后人文主义的表现力：试图理解物质如何变得重要”，迹象：文化与社会中的女性杂志28（3）：801 – 31。doi：10.1086 / 345321 [Crossref]，[Web of Science®]，[  Google Scholar]）的“对应”概念突出显示了性能空间中各个组件之间的联系。