Cross-readings along the axes of An:
An all-black crew is unlikely.
Magic interstellar travel and/or the wondrous communication grid can lead to an illusion of outer space and cyberspace as egalitarian.
Since “fact” and “science” have been used throughout history to serve white supremacy, we will focus on an emotionally true, vernacular reality.
An awakening sense of the awesome power of the black imagination: to protect, to create, to destroy, to propel ourselves towards what poet Elizabeth Alexander describes as “a metaphysical space beyond the black public everyday toward power and wild imagination.”.
Wages for Facebook [EN] (2013)
BY DENYING OUR FACEBOOK TIME A WAGE WHILE PROFITING DIRECTLY FROM THE DATA IT GENERATES AND TRANSFORMING IT INTO AN ACT OF FRIENDSHIP, CAPITAL HAS KILLED MANY BIRDS WITH ONE STONE.
12. cyberfeminism is not an institution.
18. cyberfeminism is not an ism.
42. cyberfeminism is not an avatar.
43. cyberfeminism is not an alter ego.
67. cyberfeminism is not an easy mark.
81. cyberfeminism is not an empty space.
As an artist I strive to reposition these membranes; I do not feel locked into one medium or between contradictions like real vs. virtual or digital vs. analog.
|||IIIII||||||IIII|||IIIII|||||||||IIIIIIIIIIIIIIIIII|IIIII||||||IIII\\\\\\\\\\\\\\\\\||||||||||IIIII||||||||||||||||III|||II|IIIII||||||I|I|I|||IIIIIIII|||I|I|||IIIII||||III|||II|IIIII||||||I| Use the glitch as an exoskeleton of progress.
The glitch is a wonderful experience of an interruption that shifts an object away from its ordinary form and discourse.
A negative feeling makes place for an intimate, personal experience of a machine (or program), a system showing its formations, inner workings and flaws.
The glitch has no solid form or state through time; it is often perceived as an unexpected and abnormal mode of operandi, a break from (one of) the many flows (of expectations) within a technological system.
Use bends and breaks as a metaphor for difference As an artist, I find catharsis in disintegration, ruptures and cracks.
Glitch art is often about relaying the membrane of the normal, to create a new protocol after shattering an earlier one.
Once the glitch is understood as an alternative way of representation or a new language, its tipping point has passed and the essence of its glitch-being is vanished.
The glitch is no longer an art of rejection, but a shape or appearance that is recognized as a novel form (of art).
Even so, glitch art is not always (or by everyone) experienced as an art of the momentum; many works have already passed their tipping point.
This is why an intended error can still be called glitch art and why glitch art is not always just a personal experience of shock, but has also become a genre; a schematic metaphor for a way of expression, that depends on multiple actors.
Moreover, some of the techniques I (and others) used became easily reproducible for other people, either because I explained my working process, or sometimes because of the development of a software or plugin that automatically simulated or recreated a glitching method (that then became something close to an ‘effect’).
The beautiful creation of a glitch is uncanny and sublime; the artist tries to catch something that is the result of an uncertain balance, a shifting, un-catchable, unrealized utopia connected to randomness and idyllic disintegrations.
The essence of glitch art is therefore best understood as a history of movement and as an attitude of destructive generativity; it is the procedural art of non con-formative, ambiguous reformations.
There is an obvious critique: to design a glitch means to domesticate it.
Works from the genre ‘glitch art’ thus consist as an assemblage of perceptions and the understanding by multiple actors.
The glitch does not only invoke the death of the author, but also the death of the apparatus, medium or tool (at least from the perspective of the technological determinist spectator) and is often used as an anti ‘software-deterministic’ form.
As a result, an abundance of designations like databending, datamoshing and circuitbending have come to existence, which in fact all refer to similar practices of breaking flows within different technologies or platforms.
I think that an answer to the problems of both historians and theoreticians could be found when glitch art is described as a procedural activity demonstrating against and within multiple technologies.
Here is the purgatory; an intermediate state between the death of the old technology and a judgement for a possible continuation into a new form, a new understanding, a landscape, a videoscape..
These glitching technologies create an acousmatic videoscape in which I can perceive an output outside of my goggles of immediacy, transparency speed and usability.
In the acousmatic videoscape, the critical trans-media aesthetics reflect on the perception of technology and its messages; they create an opportunity for self reflexivity, self critique and self expression.
There is nothing which our infatuated race would desire to see more than the fertile union between a man and an Analytical Engine.
An aesthetics of exaptation, 11 with the peculiar beauty to be found in reiteration; in making a mesh.
Just as a glitch can un-resolve an image, so it can resolve something more posthuman: manifold systems – biological, political, computational, material.
There is no innovation that has not an aggressive character.
20 For only Additivism can accelerate us to an aftermath whence all matter has mutated into the clarity of plastic.
0x01 XF seizes alienation as an impetus to generate new worlds.
Technoscientific innovation must be linked to a collective theoretical and political thinking in which women, queers, and the gender non-conforming play an unparalleled role.
Science is not an expression but a suspension of gender.
It names reason as an engine of feminist emancipation, and declares the right of everyone to speak as no one in particular.
Today, it is imperative that we develop an ideological infrastructure that both supports and facilitates feminist interventions within connective, networked elements of the contemporary world.
This is not an elision of the fact that a large amount of the world's poor is adversely affected by the expanding technological industry (from factory workers labouring under abominable conditions to the Ghanaian villages that have become a repository for the e-waste of the global powers) but an explicit acknowledgement of these conditions as a target for elimination.
On the other hand, melancholy -- so endemic to the left -- teaches us that emancipation is an extinct species to be wept over and that blips of negation are the best we can hope for.
At its worst, such an attitude generates nothing but political lassitude, and at its best, installs an atmosphere of pervasive despair which too often degenerates into factionalism and petty moralizing.
XF is an affirmative creature on the offensive, fiercely insisting on the possibility of large-scale social change for all of our alien kin.
While having (perhaps) admirably expanded thresholds of 'tolerance', too often we are told to seek solace in unfreedom, staking claims on being 'born' this way, as if offering an excuse with nature's blessing.
To tilt the fulcrum in the direction of nature is a defensive concession at best, and a retreat from what makes trans and queer politics more than just a lobby: that it is an arduous assertion of freedom against an order that seemed immutable.
The disciplinary grid of gender is in no small part an attempt to mend that shattered foundation, and tame the lives that escaped it.
This is not a universal that can be imposed from above, but built from the bottom up -- or, better, laterally, opening new lines of transit across an uneven landscape.
The most durable systems in the world owe their stability to the way they train order to emerge as an 'invisible hand' from apparent spontaneity; or exploit the inertia of investment and sedimentation.
With this in mind, XF seeks ways to seed an order that is equitable and just, injecting it into the geometry of freedoms these platforms afford.
An d so, in tearing down melancholy and illusion; the unambitious and the non-scaleable; the libidinized puritanism of certain online cultures, and Nature as An un-remakeable given, we find that our normative anti-naturalism has pushed us towards An unflinching ontological naturalism.
The project of untangling what ought to be from what is, of dissociating freedom from fact, will from knowledge, is, indeed, an infinite task.
So profoundly ingrained, domestic space has been deemed impossible to disembed, where the home as norm has been conflated with home as fact, as an un-remakeable given.
The home is ripe for spatial transformation as an integral component in any process of feminist futurity.
The task before us is twofold, and our vision necessarily stereoscopic: we must engineer an economy that liberates reproductive labour and family life, while building models of familiality free from the deadening grind of wage labour.
We ask whether the idiom of 'gender hacking' is extensible into a long-range strategy, a strategy for wetware akin to what hacker culture has already done for software -- constructing an entire universe of free and open source platforms that is the closest thing to a practicable communism many of us have ever seen.
0x18 XF asserts that adapting our behaviour for an era of Promethean complexity is a labour requiring patience, but a ferocious patience at odds with 'waiting'.
How do we build a better semiotic parasite -- one that arouses the desires we want to desire, that orchestrates not an autophagic orgy of indignity or rage, but an emancipatory and egalitarian community buttressed by new forms of unselfish solidarity and collective self-mastery?
Xenofeminism is a platform, an incipient ambition to construct a new language for sexual politics -- a language that seizes its own methods as materials to be reworked, and incrementally bootstraps itself into existence.
0x1A Xenofeminism indexes the desire to construct an alien future with a triumphant X on a mobile map.
*Has an awareness of the materiality of software, hardware and the bodies gathered around it.
Vulnerability is not an alibi.
The paranodal is an atopia, because it constitutes a difference that is everywhere.
PECHBLENDA is injected into our veins as an antidote to the heteropatriarchal arrogance that surrounds us.
The walls tremble and the water penetrates the tiny holes, it expands like an unbreakable code exciting our neurons ; we change the apparent path of events transiting antimelodies, noise as arithmetic opening, outside of the calculated and homogenous, noise feeding unlimited experimentation.
Extremely sexual, ironic, sarcastic, we love to party, to not sleep, to take drugs if we feel like it, to go with our friends or to finish a circuit or improvise an eternal noise jam.
The Call for Feminist Data [EN] (2018)
OUR INITIAL INTENTION: to create a data set that provides a resource that can be used to train an AI to locate feminist and other intersectional ways of thinking across digital media distributed online.
What needs to be written about is what happens when a woman sits down and engages with sex—specifically, her own, as tied to an exploration of her individual sexuality and liberation therein—via the medium of a computer screen.
The first is a screen, stuck, overwhelmed as a consequence of having too many windows open, too many things playing at once; I am trying to get an education, make a determination for myself, so I want to see everything, hear everything, right now, all at once.
I am writing about “sexual activity” broadly, an overarching umbrella: I am talking about the watching of porn, but also about cybering, sexting, G-chat fantasy play, or the uploading or downloading of other sex-oriented content from the Internet.
An immersive différence, in the purest sense of the French translation—both “difference” and “defer” alike.
Though pejoratively dismissed all too frequently as an aspect of technical error, for me the glitch denotes an extension of the realm of foreplay, whether it be “play” with oneself, or with a virtualized other, imagined, or waiting just on the other side of the proverbial screen.
Urban Dictionary defines it as “an error in a structured system”; Dictionary.com defines it as “a defect or malfunction in a machine or plan”.
In a society that conditions the public to find discomfort or outright fear in the errors and malfunctions of our socio-cultural mechanics—illicitly and implicitly encouraging an ethos of “Don’t rock the boat!”—a “glitch” becomes an apt metonym.
Glitch Feminism, however, embraces the causality of “error”, and turns the gloomy implication of glitch on its ear by acknowledging that an error in a social system that has already been disturbed by economic, racial, social, sexual, and cultural stratification and the imperialist wrecking-ball of globalization—processes that continue to enact violence on all bodies— may not, in fact, be an error at all, but rather a much-needed erratum.
We want to claim for ourselves permanent seats at the table, an empowered means of demarcating space that can be possessed by us in entirety, a veritable “room of [our] own” that, despite the strides made via feminist political action, has yet to truly belong to us.
As bodies, we are an extended narrative, eternal in our geographies, imbued with unexpected fissures that cause us to re-present ourselves, and, in doing so, see ourselves again, in new lights and explorations.
A candidate for an MRes of Visual Culture at Goldsmith’s University, her creative and academic work explores mourning, remembrance, iconography, and idolatry within the public realm.
Bitch Mutant Manifesto [EN] (1996)
--- The atomic wind catches your wings and you are propelled backwards into the future, an entity time travelling through the late C20th, a space case, an alien angel maybe, looking down the deep throat of a million catastrophes.
Bitch Mutant Manifesto [EN] (1996)
Hot ice kisses my synapses with an (ec)static rush.
--- At this point in time we believe a radical change in politics and the world socioeconomic system is needed in order to achieve a new balanced ecology and this radical change should start with a shifting of agency: we ask for the main agency to be shifted to the feminine principle – which we do not understand as excluding masculinity but as referring to a history of incorporating it and mobilizing it in a different way than the traditional patriarchal mobilization for violence: an emphasis on complementarity rather than antagonism, on resolutions of peace rather than militarism, on efforts directed towards construction, care and emancipatory exploration rather than destruction.
Moreover, trying to imagine a future ecology for the whole planetary assemblage, not only a future for the human race, we support the idea that any desirable mode of existence connected/integrated into nature-culture or constituted of equally important organic and inorganic life-forms (including an animistic perspective) cannot be separated from the human subject’s struggle to overcome oppression based on gender, race and class within the species.
We support an empowering of women that is founded on a desired change of paradigm, where weakness is understood and respected as a valuable condition in itself, and at the same time on the possibility, accepted and detabooed, of technological transformations of the human body towards hybrid forms such as the cyborg.
We support preservation of difference as a choice but without an obligation of difference, feminism as a fight for real freedom of choice.
Only a strong belief – with universal ambitions – in equality of races and gender, in equal rights for women, queers, the poor and the disenfranchised, in negotiation with animal rights and the rights of inorganic entities – all linked together – can stand against and oppose an expansive and interconnected politics of exclusion, capitalist exploitation, religious fundamentalism, racism, sexism and brutal anthropocentrism.
It is not an external, malignant, alien entity but a set of historic conditions and current practices, which instead of introjecting we have to learn how to live without.
8.. We also believe the emancipatory use of sustainable technology has to play an important part in any future ecology, including the protection and preservation of “nature”, just as much as a needed change in our position towards nature and its exclusive understanding as resource for endless consumption.
--- Life in this society being, at best, an utter bore and no aspect of society being at all relevant to women, there remains to civic-minded, responsible, thrill-seeking females only to overthrow the government, eliminate the money system, institute complete automation and destroy the male sex.
The male is a biological accident: the y (male) gene is an incomplete x (female) gene, that is, has an incomplete set of chromosomes.
In other words, the male is an incomplete female, a walking abortion, aborted at the gene stage.
He is a half dead, unresponsive lump, incapable of giving or receiving pleasure or happiness; consequently, he is at best an utter bore, an inoffensive blob, since only those capable of absorption in others can be charming.
Even assuming mechanical proficiency, which few men have, he is, first of all, incapable of zestfully, lustfully, tearing off a piece, but is instead eaten up with guilt, shame, fear and insecurity, feelings rooted in male nature, which the most enlightened training can only minimize; second, the physical feeling he attains is next to nothing; and, third, he is not empathizing with his partner, but is obsessed with how he's doing, turning in an A performance, doing a good plumbing job.
To call a man an animal is to flatter him; he's a machine, a walking dildo.
Since he's attempting to prove an error, he must "prove" it again and again.
Being an incomplete female, the male spends his life attempting to complete himself, to become female.
Since he has no compassion or ability to empathize or identify, proving his manhood is worth an endless number of lives, including his own--his own life being worthless, he would rather go out in a blaze of glory than plod grimly on for fifty more years.
*Money, Marriage and Prostitution, Work and Prevention of an Automated Society:* There is no human reason for money or for anyone to work more than two or three hours a week at the very most.
Incapable of enjoying the moment, the male needs something to look forward to, and money provides him with an eternal, never-ending goal: Just think what you could do with 80 trillion dollars--Invest it!
*Fatherhood and Mental Illness (fear, cowardice, timidity, humility, insecurity, passivity):* Mother wants what's best for her kids; Daddy only wants what's best for Daddy, that is peace and quiet, pandering to his delusion of dignity ("respect"), a good reflection on himself (status) and the opportunity to control and manipulate, or, if he's an "enlightened" father, to "give guidance".
Reducing the female to an animal, to Mama, to a male, is necessary for psychological as well as practical reasons: the male is a mere member of the species, interchangeable with every other male.
So he denies it in her and proceeds to define everyone in terms of his or her function or use, assigning to himself, of course, the most important functions--doctor, president, scientist--thereby providing himself with an identity, if not individuality, and tries to convince himself and women (he's succeeded best at convincing women) that the female function is to bear and raise children and to relax, comfort and boost the ego of the male; that her function is such as to make her interchangeable with every other female.
Isolation enables him to try to maintain his pretense of being an individual by becoming a "rugged individualist", a loner, equating non-co-operation and solitariness with individuality.
There is yet another reason for the male to isolate himself: every man is an island.
Trapped inside himself, emotionally isolated, unable to relate, the male has a horror of civilization, people, cities, situations requiring an ability to understand and relate to people.
In the name of sharing and co-operation, he forms the commune or tribe, which, for all its togetherness and partly because of it (the commune, being an extended family, is an extended violation of the females' rights, privacy and sanity) is no more a community than normal "society".
*Conformity:* Although he wants to be an individual, the male is scared of anything in himself that is the slightest bit different from other men; it causes him to suspect that he's not really a "Man", that he's passive and totally sexual, a highly upsetting suspicion.
The farthest out male is the drag queen, but he, although different from most men, is exactly like all other drag queens; like the functionalist, he has an identity--he is a female.
*Authority and Government:* Having no sense of right or wrong, no conscience, which can only stem from an ability to empathize with others...having no faith in his non-existent self, being necessarily competitive and, by nature, unable to co-operate, the male feels a need for external guidance and control.
*Competition, Prestige, Status, Formal Education, Ignorance and Social and Economic Classes:* Having an obsessive desire to be admired by women, but no intrinsic worth, the male constructs a highly artificial society enabling him to appropriate the appearance of worth through money, prestige, "high" social class, degrees, professional position and knowledge and, by pushing as many other men as possible down professionally, socially, economically, and educationally.
On the contrary, the male has a vested interest in ignorance; he knows that an enlightened, aware female population will mean the end of him.
*Prevention of Conversation:* Being completely self-centered and unable to relate to anything outside himself, the male's "conversation", when not about himself, is an impersonal droning on, removed from anything of human value.
Absorbing "culture" is a desperate, frantic attempt to groove in an ungroovy world, to escape the horror of a sterile, mindless existence.
But the male "artist", being totally sexual, unable to relate to anything beyond his own physical sensations, having nothing to express beyond the insight that for the male life is meaningless and absurd, cannot be an artist.
On the other hand, those females least embedded in the male "Culture", the least nice, those crass and simple souls who reduce fucking to fucking, who are too childish for the grown-up world of suburbs, mortgages, mops and baby shit, too selfish to raise kids and husbands, too uncivilized to give a shit for anyone's opinion of them, too arrogant to respect Daddy, the "Greats" or the deep wisdom of the Ancients, who trust only their own animal, gutter instincts, who equate Culture with chicks, whose sole diversion is prowling for emotional thrills and excitement, who are given to disgusting, nasty, upsetting "scenes", hateful, violent bitches given to slamming those who unduly irritate them in the teeth, who'd sink a shiv into a man's chest or ram an icepick up his asshole as soon as look at him, if they knew they could get away with it, in short, those who, by the standards of our "culture" are SCUM...these females are cool and relatively cerebral and skirting asexuality.
*Boredom:* Life in a "society" made by and for creatures who, when they are not grim and depressing are utter bores, can only be, when not grim and depressing, an utter bore.
Violence serves as an outlet for his hate and, in addition--the male being capable only of sexual responses and needing very strong stimuli to stimulate his half-dead self--provides him with a little sexual thrill.
In fact, the problems of aging and death could be solved within a few years, if an all-out, massive scientific assault were made on the problem.
Incapable of a positive state of happiness, which is the only thing that can justify one's existence, the male is, at best, relaxed, comfortable, neutral, and this condition is extremely short-lived, as boredom, a negative state, soon sets in; he is, therefore, doomed to an existence of suffering relieved only by occasional, fleeting stretches of restfulness, which state he can achieve only at the expense of some female.
The male is, by his very nature, a leech, an emotional parasite and, therefore, not ethically entitled to live, as no one has the right to live at someone else's expense.
The elimination of any male is, therefore, a righteous and good act, an act highly beneficial to women as well as an act of mercy.
How many women will deliberately get or (if an accident) remain pregnant?
In the case of a man whose behavior falls into both the good and bad categories, an overall subjective evaluation of him will be made to determine if his behavior is, in the balance, good or bad.
Dropping out, however, is an excellent policy for men and SCUM will enthusiastically encourage it.
The male, capable of only the latter, makes a virtue of an irremediable fault and sets up self-absorption, not only as a good but as a Philosophical Good, and thus gets credit for being deep.
SCUM will always operate on a criminal as opposed to a civil disobedience basis, that is, as opposed to openly violating the law and going to jail in order to draw attention to an injustice.
With complete automation it will be possible for every woman to vote directly on every issue by means of an electronic voting machine in her house.
The rest of the women will be busy solving the few remaining unsolved problems before planning their agenda for eternity and Utopia--completely revamping educational programs so that millions of women can be trained within a few months for high level intellectual work that now requires years of training (this can be done very easily once our educational goal is to educate and not to perpetuate an academic and intellectual elite); solving the problems of disease and old age and death and completely redesigning our cities and living quarters.
Gynepunk Manifesto [EN] (2014)
In gynecology particular case, it's reach an inquisitive, paternalistic and fascistic attitudes.
Gynepunk Manifesto [EN] (2014)
The technical control of the diagnosis generates extreme dependence an a classicist deep gap of knowledge.
Purple Noise Manifesto [EN] (2018)
#purplenoise is an erratic techno-feminist intervention operating on a global scale to noisify social media channels.
Every superman, every hero, no matter how epic, how much of a genius, or how powerful, is the prodigious expression of a race and an epoch only because he is composed at once of feminine and masculine elements, of femininity and masculinity: that is, a complete being.
Feminism is a cerebral error of woman, an error that her instinct will recognize.
To grant them to her would bring about not any of the disorders the Futurists desire but on the contrary an excess of order.
LET’S CONCLUDE: Woman who retains man through her tears and her sentimentality is inferior to the prostitute who incites her man, through braggery, to retain his domination over the lower depths of the cities with his revolver at the ready: at least she cultivates an energy that could serve better causes.
Refugia [EN] (2002)
REFUGIA: A habitat for new AMOs (Autonomously Modified Organism) and agit-crops; for example, “ProActiva,” an herb that is a grafting of witch-root, man drake, and all-heal.
Feminist Principles of the Internet [EN] (2016)
The internet is a space where social norms are negotiated, performed and imposed, often in an extension of other spaces shaped by patriarchy and heteronormativity.
Feminist Principles of the Internet [EN] (2016)
We call on the need to build an ethics and politics of consent into the culture, design, policies and terms of service of internet platforms.
Cyberwitches Manifesto [EN] (2019)
We are hybrid entities living in an hybrid world.
AN IRONIC DREAM OF A COMMON LANGUAGE FOR WOMEN IN THE INTEGRATED CIRCUIT.
This chapter is an effort to build an ironic political myth faithful to feminism, socialism, and materialism.
This is a struggle over life and death, but the boundary between science fiction and social reality is an optical illusion.
Modern medicine is also full of cyborgs, of couplings between organism and machine, each conceived as coded devices, in an intimacy and with a power that was not generated in the history of sexuality.
An d modern war is a cyborg orgy, coded by C3I, command-control-communication intelligence, An $84 billion item in 1984'sUS defence budget.
I am making an argument for the cyborg as a fiction mapping our social and bodily reality and as an imaginative resource suggesting some very fruitful couplings.
This chapter is an argument for pleasure in the confusion of boundaries and for responsibility in their construction.
It is also an effort to contribute to socialist-feminist culture and theory in a postmodernist, non-naturalist mode and in the utopian tradition of imagining a world without gender, which is perhaps a world without genesis, but maybe also a world without end.
Nor does it mark time on an oedipal calendar, attempting to heal the terrible cleavages of gender in an oral symbiotic utopia or post-oedipal apocalypse.
In a sense, the cyborg has no origin story in the Western sense - a 'final' irony since the cyborg is also the awful apocalyptic telos of the 'West's' escalating dominations of abstract individuation, an ultimate self untied at last from all dependency, a man in space.
An origin story in the 'Western', humanist sense depends on the myth of original unity, fullness, bliss and terror, represented by the phallic mother from whom all humans must separate, the task of individual development and of history, the twin potent myths inscribed most powerfully for us in psychoanalysis and Marxism.
They were not man, an author to himself, but only a caricature of that masculinist reproductive dream.
Modern machinery is an irreverent upstart god, mocking the Father's ubiquity and spirituality.
The diseases evoked by these clean machines are 'no more' than the minuscule coding changes of an antigen in the immune system, 'no more' than the experience of stress.
From One-DimensionalMan (Marcuse, 1964) to The Death of Nature (Merchant, 1980), the analytic resources developed by progressives have insisted on the necessary domination of technics and recalled us to an imagined organic body to integrate our resistance.
Gender, race, or class consciousness is an achievement forced on us by the terrible historica experience of the contradictory social realities of patriarchy, colonialism, and capitalism.
Painful fragmentation among feminists (not to mention among women) along every possible fault line has made the concept of woman elusive, an excuse for the matrix of women's dominations of each other.
Sandoval argues that 'women of colour' have a chance to build an effective unity that does not replicate the imperializing, totalizing revolutionary subjects of previous Marxisms and feminisms which had not faced the consequences of the disorderly polyphony emerging from decolonization.
These taxonomies tend to remake feminist history so that it appears to be an ideological struggle among coherent types persisting over time, especially those typical units called radical, liberal, and socialistfeminism.
Literally, all other feminisms are either incorporated or marginalized, usually by building an explicit ontology and epistemology.
The theoretical and practical struggle against unity-through-domination or unity-through in corporation ironically not only undermines the justifica-tions for patriarchy, colonialism, humanism, positivism, essentialism, scient-ism, and other unlamented -isms, but all claims for an organic or natural standpoint.
Marxian socialism is rooted in an analysis of wage labour which reveals class structure.
Labour is the humanizing activity that makes man; labour is an ontological category permitting the knowledge of a subject, and so the knowledge of subjugation and alienation.
The unity of women here rests on an epistemology based on the ontological structure of'labour'.
But the teleological logic of her theory shows how an epistemology and ontology - including their negations - erase or police difference.
As for the Marxist/ socialist feminist, consciousness is an achievement, not a natural fact.
Perversely, sexual appropriation in this feminism still has the epistemolo-gical status of labour; that is to say, the point from which an analysis able to contribute to changing the world must flow.
But in solving the problem of the contradictions of any Western revolutionary subject for feminist purposes, she develops an even more authoritarian doctrine of experience.
THE INFORMATICS OF DOMINATION In this attempt at an epistemological and political position, I would like to sketch a picture of possible unity, a picture indebted to socialist and feminist principles of design.
I argue for a politics rooted in claims about fundamental changes in the nature of class, race, and gender in an emerging system of world order analogous in its novelty and scope to that created by industrial capitalism; we are living through a movement from an organic, industrial society to a polymorphous, information system--from all work to all play, a deadly game.
For liberals and radicals, the search for integrated social systems gives way to a new practice called 'experimental ethnography' in which an organic object dissipates in attention to the play of writing.
In the US gay men and intravenous drug users are the 'privileged' victims of an awful immune system disease that marks (inscribes on the body) confusion of boundaries and moral pollution (Treichler, 1987).
To be feminized means to be made extremely vulnerable; able to be disassembled, reassembled, exploited as a reserve labour force; seen less as workers than as servers; subjected to dme arrangements on and off the paid job that make a mockery of a limited work day; leading an existence that always borders on being obscene, out of place, and reducible to sex.
Deskilling is an old strategy newly applicable to formerly privileged workers.
The feminization of poverty-generated by dismantling the welfare state, by the homework economy where stable jobs become the exception, and sustained by the expectation that women's wages will not be matched by a male income for the support of children-- has become an urgent focus.
The particular pressure, for example, on US black women, who have achieved an escape from (barely) paid domeshc service and who now hold clerical and similar jobs in large numbers, has large implicadons for condnued enforced black poverty with employment.
The speculum served as an icon of women's claiming their bodies in the 1970S; that handcraft tool is inadequate to express our needed body politics in the negotiation of reality in the practices of cyborg reproduction.
An adequate socialist-feminist politics should address women in the privileged occupational categories, and particularly in the production of science and technology that constructs scientific-technical discourses, processes, and objects.
I am conscious of the odd perspecdve provided by my historical position - a PhD in biology for an Irish Catholic girl was made possible by Sputnik's impact on US national scienceeducation policy.
Moraga's writing, her superb literacy, is presented in her poetry as the same kind of violation as Malinche's mastery of the conqueror's language -- a violation, an illegitimate production, that allows survival.
But it is this chimeric monster, without claim to an original language before violation, that crafts the erode, competent, potent identities of women of colour.
To be One is to be autonomous, to be powerful, to be God; but to be One is to be an illusion, and so to be involved in a dialectic of apocalypse with the other.
James Tiptree, Jr, an author whose fiction was regarded as particularly manly undl her 'true' gender was revealed, tells tales of reproduction based on non-mammalian technologies like alternation of generations of male brood pouches and male nurturing.
John Varley constructs a supreme cyborg in his arch-feminist exploration of Gaea, a mad goddessplanet-trickster-old woman-technological device on whose surface an extraordinary array of post-cyborg symbioses are spawned.
Octavia Butler writes of an African sorceress pithug her powers of transformation against the genetic manipulations of her rival (Wild Seed), of dme warps that bring a modern US black woman into slavery where her actions in relation to her white master-ancestor determine the possibility of her own birth (Kindred), and of the illegidmate insights into idendty and community of an adopted cross-species child who came to know the enem' as self (Survivor).
From an Australian feminist sensitivity, Sofoulis remembered more readily McIntyre's role as writer of the adventures of Captain Kirk and Spock in TV's Star Trek series than her rewriting the romance in Superluminal.
Intense pleasure in skill, machine skill, ceases to be a sin, but an aspect of embodiment.
The machine is not an it to be animated, worshipped, and dominated.
The machine is us, our processes, an aspect of our embodiment.
There is no drive in cyborgs to produce total theory, but there is an intimate experience of boundaries, their construction and deconstruction.
Cyborg imagery can help express two crucial arguments in this essay: first, the production of universal, totalizing theory is a major mistake that misses most of reality, probably always, but certainly now; and second, taking responsibility for the social relations of science and technology means refusing an anti-science metaphysics, a demonology of technology, and so means embracing the skilful task of reconstructing the boundaries of daily life, in partial connection with others, in communication with all of our parts.
It is an imagination of a feminist speaking in tongues to strike fear into the circuits of the supersavers of the new right.
Also specific to The Mundane Afrofuturist Manifesto [EN] (2013):
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