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Reading Measure for Measure through the logic of substitution has been a long-standing critical tradition; the play seems to invite topical, political, and religious parallels at every turn. What if the logic of substitution in the play goes beyond exchange and seeks out a triadic logic instead? This insistent searching for the triad appears most notably in the performance of Measure for Measure by Cheek by Jowl (2013–2019). Cheek By Jowl's strategies of touring, simplicity, movement, and liberation create a dynamic and ever-evolving performance. This article puts Cheek by Jowl's performance of Measure for Measure in conversation with C.S. Peirce's (and subsequent theorists) explorations of triadic logic with Puttenham's rhetoric of traductio (repetition with variation, and "tranlacing"), in addition to critical work on substitutions in the play. Tracing the superfluity of substitutions in rhetoric and performance of the play allows us to see how the play refuses binaries, and energizes triadic logic as a means to liveness in performance. Both Shakespeare's play and the Cheek By Jowl production use a triadic structure which suggests the Trinity, foregrounding the body as a site of mediation and liveness.

Twitter analysis through data mining, text analysis, and visualization, coupled with the application of actor-network-theory, reveals a coalition of heterogenous religious affiliations around grief and fascination. While religious violence has always existed, the prevalence of social media has led to an increase in the magnitude of discussions around the topic. This paper examines the different reactions on Twitter to violence targeting three religious communities: the 2015 Charleston Church shooting, the 2018 Pittsburgh Synagogue shooting, and the 2019 Christchurch Mosque shootings. The attacks were all perpetrated by white nationalists with firearms. By analyzing large Twitter datasets in response to the attacks, we were able to render visible associations among actors across religions communities, national identities, and political persuasions. What this project revealed is that if we apply actor-network-theory and data visualization to look at networks created by human/non-human (text, computer, phone, meme, tweet, retweet, hashtag) actors, we can see that knowledge, empathy, and fascination drive communication around mass violence against religious communities.