Cross-readings along the axes of language:
Cyberfeminism is not [EN+DE+NL+FR] (1997)
100. cyberfeminism has not only one language.
AN IRONIC DREAM OF A COMMON LANGUAGE FOR WOMEN IN THE INTEGRATED CIRCUIT.
The last beachheads of uniqueness have been polluted if not turned into amusement parks -language tool use, social behaviour, mental events, nothing really convincingly settles the separation of human and animal.
No objects, spaces, or bodies are sacred in themselves; any component can be interfaced with any other if the proper standard, the proper code, can be constructed for processing signals in a common language.
Furthermore, communications sciences and modern biologies are constructed by a common move - the translation of the world into a problem of coding, a search for a common language in which all resistance to instrumental control disappears and all heterogeneity can be submitted to disassembly, reassembly, investment, and exchange.
In each case, solution to the key questions rests on a theory of language and control; the key operation is determining the rates, directions, and probabilities of flow of a quantity called information.
The ethnic and racial diversity of women in Silicon Valley structures a microcosm of conflicting differences in culture, family, religion, education, and language.
The feminist dream of a common language, like all dreams for a perfectly true language, of perfectly faithful naming of experience, is a totalizing and imperialist one.
In that sense, dialectics too is a dream language, longing to resolve contradiction.
Exploring concephons of bodily boundaries and social order, the anthropologist Mary Douglas (1966, 1970) should be credited with helping us to consciousness about how fundamental body imagery is to world view, and so to political language.
American radical feminists like Susan Griffnn, Audre Lorde, and Adrienne Rich have profoundly affected our political imaginations - and perhaps restricted too much what we allow as a friendly body and political language.
Cyborg writing must not be about the Fall, the imagination of a once-upon-a-time wholeness before language, before writing, before Man.
Figuratively and literally, language politics pervade the struggles of women of colour; and stories about language have a special power in the rich contemporary writing by US women of colour.
Cherrie Moraga (1983) in Loving in the War Years explores the themes of identity when one never possessed the original language, never told the original story, never resided in the harmony of legitimate heterosexuality in the garden of culture, and so cannot base identity on a myth or a fall from innocence and right to natural names, mother's or father's.
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.
Moraga's language is not 'whole'; it is self-consciously spliced, a chimera of English and Spanish, both conqueror's languages.
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.
Cyborg politics is the struggle for language and the struggle against perfect communication, against the one code that translates all meaning perfectly, the central dogma of phallogocentrism.
These are the couplings which make Man and Woman so problematic, subverting the structure of desire, the force imagined to generate language and gender, and so subverting the structure and modes of reproduction of 'Western' idendty, of nature and culture, of mirror and eye, slave and master, body and mind.
With no available original dream of a common language or original symbiosis promising protection from hostile 'masculine' separation, but written into the play of a text that has no finally privileged reading or salvation history, to recognize 'oneself' as fully implicated in the world, frees us of the need to root politics in identification, vanguard parties, purity, and mothering.
All the characters explore the limits of language; the dream of communicating experience; and the necessity of limitation, partiality, and indmacy even in this world of protean transformation and connection.
There is a myth system waiting to become a political language to ground one way of looking at science and technology and challenging the informatics of domination-- in order to act potently.
This is a dream not of a common language, but of a powerful infidel heteroglossia.
With the potential to foreclose, restrict, or open up future social conditions, xenofeminists must become attuned to the language of architecture as a vocabulary for collective choreo-graphy -- the coordinated writing of space.
We prefer to think like the schemer or lisper, who seeks to construct a new language in which the problem at hand is immersed, so that solutions for it, and for any number of related problems, might unfurl with ease.
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.
Glitch Manifesto [EN] (2009)
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.
S.C.U.M manifesto [EN] (1967)
The vast majority of people, particularly the "educated" ones, lacking faith in their own judgment, humble, respectful of authority ("Daddy knows best" is translated into adult language as "Critic knows best", "Writer knows best", "Ph.D knows best"), are easily conned into believing that obscurity, evasiveness, incomprehensibility, indirectness, ambiguity and boredom are marks of depth and brilliance.
Also specific to Cyberfeminism is not [EN+DE+NL+FR] (1997):
cyberfeminism ist cyberfeminismus nicht nije keine cyberfeminismo cyberfeminisme not kein es est pas n sale niet 100 sajbrfeminizm boring modern post immobile 72 34 88 romantic 55 25 90 77 71 dogmatic nettime 70 97 triste notusing kunst oxymoron 44 78 45 frontera 66 53 98 je une iets