"Conflicting Interpretations of Risk: The Case of Brookhaven's Spent Fuel Rods" – Technology: A Journal of Science Serving Legislative, Regulatory, and Judicial Systems 6 (1999), pp. 495–500. "The History of Brookhaven National Laboratory Part One: the Graphite Reactor and the Cosmotron" – Long Island Historical Journal 3:2 (Spring 1991), pp. 167–188. "The History of Brookhaven National Laboratory Part Two: The Haworth Years" – Long Island Historical Journal 4:2 (Spring 1992). "The History of Brookhaven National Laboratory Part Three" – Long Island Historical Journal 6:1 (Fall 1993), pp. 167–188. "The History of Brookhaven National Laboratory Part Four: Problems of Transition" – Long Island Historical Journal 7:1 (Fall 1994), pp. 22–41. "The History of Brookhaven National Laboratory Part Five" – Long Island Historical Journal 4:2 (Spring 1995). "The History of Brookhaven National Laboratory Part Six: The Lab and Long Island Community, 1947–1972" – Long Island Historical Journal 9:2 (Fall 1996), pp. 4–24. Performance theory In performance theory Crease treats performance not as merely a praxis – an application of a skill, technique, or practice that simply produces what it does – but a poiesis; a bringing forth of a phenomenon, something with its own identity in the world, able to appear in different ways in different circumstances, but exhibiting some lawlike integrity. Works of the performing arts are clearly of this sort – but so are scientific experiments. An experiment is not something automatic, but must be planned, executed, and witnessed – and its result sometimes leads the planners to have to alter an experiment so that what appears in it can be seen more clearly. Crease treats performance as not simply a metaphor that is extended merely suggestively from the arts to the sciences, but as something that happens alike in artistic and scientific activity. Treating experiments as performances in the service of inquiry, however, leads us to understand better several features of experiments, such as why they can "give us back" more information than we put into them, causing us to reshape the theories that led us to create them. Relevant publications include: "Technique" (with John Lutterbie), in Staging Philosophy, ed. D. Saltz and D. Krasner, forthcoming – Univ. of Michigan Press, 2006, pp. 160–179. "From Workbench to Cyberstage", in Postphenomenology: A Critical Companion to Ihde, ed. E. Selinger – Albany, SUNY Press, 2006, pp. 221–229. "Inquiry and Performance: Analogies and Identities Between the Arts and the Sciences" – Interdisciplinary