ARTH 4154 Syllabus, Fall, 2014
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Revisiting Cyberfeminism
AUTHOR’S COPY | AUTORENEXEMPLAR Revisiting cyberfeminism SUSANNA PAASONEN E-mail: [email protected] Abstract In the early 1990s, cyberfeminism surfaced as an arena for critical analyses of the inter-connections of gender and new technology Ϫ especially so in the context of the internet, which was then emerging as something of a “mass-medium”. Scholars, activists and artists interested in media technol- ogy and its gendered underpinnings formed networks and groups. Conse- quently, they attached altering sets of meaning to the term cyberfeminism that ranged in their take on, and identifications with feminism. Cyberfemi- nist activities began to fade in the early 2000s and the term has since been used by some as synonymous with feminist studies of new media Ϫ yet much is also lost in such a conflation. This article investigates the histories of cyberfeminism from two interconnecting perspectives. First, it addresses the meanings of the prefix “cyber” in cyberfeminism. Second, it asks what kinds of critical and analytical positions cyberfeminist networks, events, projects and publications have entailed. Through these two perspectives, the article addresses the appeal and attraction of cyberfeminism and poses some tentative explanations for its appeal fading and for cyberfeminist activities being channelled into other networks and practiced under dif- ferent names. Keywords: cyberfeminism, gender, new technology, feminism, networks Introduction Generally speaking, cyberfeminism signifies feminist appropriation of information and computer technology (ICT) on a both practical and theoretical level. Critical analysis and rethinking of gendered power rela- tions related to digital technologies has been a mission of scholars but equally Ϫ and vocally Ϫ that of artists and activists, and those working in-between and across such categorizations. -
Revisiting the Future Cyberfeminism in the Twenty-First Century in The
Revisiting the Future Cyberfeminism in the Twenty-First Century First published in across & beyond – A transmediale Reader on Post-digital Practices, Concepts and Institutions, eds. Ryan Bishop, Kristoffer Gansing, Jussi Parikka, Elvia Wilk. Berlin, 2016, Sternberg Press (pp. 228-247). “I want the readers to find an ‘elsewhere’ from which to envision a different and less hostile order of relationships among people, animals, technologies, and land […] I also want to set new terms for the traffic between what we have come to know historically as nature and culture.” - Donna Haraway1 In the 1990s cyberfeminists conceived a new feminism for the twenty-first century. Inspired by the as-yet-unexplored possibilities of digital networked technologies, enthusiasm spread that the new imaginary realm of zeroes and ones would make discrimination based on physical and material differences obsolete, thus offering new forms of resistance. Instead of embodying white male capitalism, technology was reconceptualized as an accomplice for emancipation. In this text I will revisit the various elaborations of cyberfeminism that were practiced in the 1990s. Underlying this trip into the past is a series of questions that might help to better understand the present: what were the impulses behind the techno-feminist upheaval?2 How did the different concepts vary? Can cyberfeminism play a role in the current situation in which the atmosphere of departure has evaporated, making space for a seemingly all-encompassing dystopia? Are there any techno-feminist approaches that respond to contemporary challenges? Techno-feminist Inspiration Despite feminist criticisms about the formation of a canon and historical periodization, it is not possible to revisit cyberfeminism without referencing its originary texts. -
First Cyberfeminist International
editorial In September 1997 the First Cyberfeminist International Who is OBN and what do they do? took place in the Hybrid Workspace at Documenta X, in The Old Boys Network was founded in Berlin in spring Kassel, Germany. 37 women from 12 countries partici- 1997 by Susanne Ackers, Julianne Pierce, Valentina pated. It was the first big meeting of cyberfeminists Djordjevic, Ellen Nonnenmacher and Cornelia Sollfrank. organized by the Old Boys Network (OBN), the first inter- OBN consists of a core-group of 3-5 women, who take national cyberfeminist organisation. responsibility for administrative and organisational tasks, and a worldwide network of associated members. OBN is dedicated to Cyberfeminism. Although cyber- feminism has not been clearly defined--or perhaps OBN’s concern is to build spaces in which we can because it hasn't--the concept has enormous potential. research, experiment, communicate and act. One Cyberfeminism offers many women--including those example is the infrastructure which is being built by weary of same-old feminism--a new vantage point from OBN. It consists of a cyberfeminist Server (currently which to formulate innovative theory and practice, and under construction), the OBN mailing list and the orga- at the same time, to reflect upon traditional feminist nisation of Real-Life meetings. All this activities have the theory and pratice. purpose to give a contextualized presence to different artistic and political formulations under the umbrella of The concept of Cyberfeminism immediately poses a lot Cyberfeminism. Furthermore we create and use different of questions. The most important ones are: 1. What is kinds of spaces, spaces which are more abstract. -
Cyberfeminist Theories and the Benefits of Teaching Cyberfeminist Literature
12 Cyberfeminist Theories and the Benefits of Teaching Cyberfeminist Literature Maya Zalbidea Paniagua Camilo José Cela University of Madrid Spain 1. Introduction In 2010 I had the opportunity to interview Julianne Pierce, writer and artist who took part of the first cyberfeminist group called VNS Matrix, at the conference "Riot Girls Techno Queen: the Rise of Laptop Generation Women" at the Reina Sofía Museum in Madrid. When I asked her what she thought about present day cyberfeminism she answered melancholically: "Cyberfeminist movements are not as visible as they used to be during the 90s" ("Personal Interview with Julianne Pierce by Maya Zalbidea Paniagua" n/p) It is certainly true that the 80s and 90s supposed the golden age of cybercultures. Cybernetics arrived in the 1960s (Wiener 1968) but the glorious age of the Internet started in the 80s. In 1984 William Gibson coined the term cyberspace and anticipated the Internet revolution in his novel Neuromancer (1984). Other cyberpunk novels also illustrated a post-apocalyptic future such as: Do Androids Dream of Electric Sheep? (1968) by Philip K. Dick. Cyberpunk films such as Blade Runner (1982) and The Terminator (1984) received enormous impact. And some years later the Web was invented by British scientist Tim Berners-Lee in 1989, CERN publicized the new World Wide Web project in 1991, and during the 90s cyberfeminist theories and movements spread internationally. Unfortunately a climax of disillusion and a crisis of moral values has influenced negatively cyberfeminist thought, promoted by the idea that women in the third world cannot have access to the Internet, the battle between ecofeminists and cyberfeminists, and the ecological awareness of the difficulty to eliminate electronic garbage. -
Art, Images and Network Culture
Art, Images and Network Culture Art, Images and Network Culture (Ed.) Juan Martín Prada Translated by George Hutton Financed by: FEDER/Ministry of Science, Innovation and Universities – State Research Agency, Spain / R&D Project “The Internet as a thematic area and fi eld of research in new artistic practices”. Ref: HAR2017-82825. Art, Images and Network Culture First edition: 2021 ISBN: 9788418392696 ISBN eBook: 9788418392139 Legal Deposit: SE 1926-2020 © of the text: Carlos Escaño Kepa Landa Maritorena Juan Martín Prada (Ed.) Henar Pérez Martínez Zara Rodríguez Prieto Remedios Zafra © of the translation: George Hutton © of this edition: Editorial Aula Magna, 2021. McGraw-Hill Interamericana de España S.L. editorialaulamagna.com [email protected] Printed in Spain Licensed under the terms of Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0), which permits readers to freely download and share the work in print or electronic format for non-commercial purposes, so long as credit is given to the author. Commercial uses require permission from the publisher. For details, see https://creativecommons. org/licenses/by-nc-sa/4.0/. The Creative Commons license describes above does not apply to any material that is separately copyrighted. Contents Preface Juan Martín Prada ......................................13 Towards a Theory of Social Media Art Juan Martín Prada ......................................17 1. Artistic practices and new online participatory platforms .......18 2. Social Network Art ......................................24 3. Other online relational spaces .............................29 4. Artistic practices and the ‘network-system’ ...................31 Digital identity in artistic practices on social networks. Real or invented subjectivities Henar Pérez Martínez ....................................35 1. -
Where Is Feminism in Cyberfeminism? Faith Wilding The
Where is Feminism in Cyberfeminism? Faith Wilding The First Cyberfeminist International took place in Kassel, Germany, September 20-28, l997, as part of the Hybrid Workspace at Documenta X. After eight days of intense daily life and work with over 30 participants at this event, Faith Wilding reflects on the significance of these discussions and their implications both for the attempts to define, and the arguments against defining, cyberfeminism. While these and subsequent on-line discussions, especially through the FACES list, provide a browser through which possible practices of a cyberfeminist movement become visible, what concerns her is how such a politics might be translated into practice for an engaged (cyber)feminist politics on the Net. Against Definition The question of how to define cyberfeminism is at the heart of the often contradictory contemporary positions of women working with new technologies and feminist politics. Sadie Plant’s position on cyberfeminism, for example, has been identified as “an absolutely post- human insurrection - the revolt of an emergent system which includes women and computers, against the world view and material reality of a patriarchy which still seeks to subdue them. This is an alliance of the goods against their masters, an alliance of women and machines” (1). This utopian vision of revolt and merger between woman and machine is also evident in VNS Matrix s Cyberfeminist Manifesto for the 21st Century: “ we are the virus of the new world disorder/rupturing the symbolic from within/saboteurs of -
A Study of Women Faculty and Administrators in Selected Public
Experiences of Women in Higher Education: A Study of Women Faculty and Administrators in Selected Public Universities in Ghana A dissertation presented to the faculty of the College of Education of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Augustina Adusah-Karikari June 2008 2 © 2008 Augustina Adusah-Karikari All Rights Reserved 3 This dissertation titled Experiences of Women in Higher Education: A Study of Women Faculty and Administrators in Selected Public Universities in Ghana by AUGUSTINA ADUSAH-KARIKARI has been approved for the Department of Educational Studies and the College of Education by Francis E. Godwyll Assistant Professor of Educational Studies Renée A. Middleton Dean, College of Education 4 ABSTRACT ADUSAH-KARIKARI, AUGUSTINA, Ph.D., June 2008, Curriculum and Instruction, Cultural Studies Experiences of Women in Higher Education: A Study of Women Faculty and Administrators in Selected Public Universities in Ghana. (203 pp.) Director of Dissertation: Francis E. Godwyll Recent research on women’s experiences in higher education in Ghana is limited. These few studies have been insufficient, therefore, to serve as a basis for rectifying the ongoing gender imbalances in higher education. Higher education is the portal to enhancing the status of women, especially in developing societies such as Ghana. Increasing the numbers of women in higher education is not the only answer to obtaining gender equality. Pragmatic solutions are needed to improve gender equality. This study sought to examine the experiences of women in higher education in Ghana by considering the challenges that women face as faculty and administrators. It explored factors that contribute to the underrepresentation of women in senior positions within the universities and further investigated the policies that have been adopted to influence gender equity. -
Feminist Art Manifestos an Anthology
Feminist Art Manifestos An Anthology Katy Deepwell (ed.) KT press, 2014 KT press publishes books and n.paradoxa: international feminist art journal to promote understanding of women artists and their work Feminist Art Manifestos: An Anthology Katy Deepwell (editor) Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the authors and publisher. For information on getting permission for reprints and excerpts, contact [email protected]. The right of Katy Deepwell as editor of this work has been asserted by her in accordance with the Copyrights, Design and Patents Act, 1988. Copyright © 2014 to named authors and artists, reproduced courtesy of authors and artists. MIERLE LADERMAN UKELES - MANIFESTO FOR MAINTENANCE ART 1969!; AGNES DENES - A MANIFESTO (1969); MICHELE WALLACE - MANIFESTO OF WSABAL (1970); NANCY SPERO - FEMINIST MANIFESTO (1970-1971); MONICA SJOO AND ANNE BERG - IMAGES ON WOMANPOWER - ARTS MANIFESTO (1971); RITA MAE BROWN - A MANIFESTO FOR THE FEMINIST ARTIST (1972); VALIE EXPORT - WOMEN'S ART: A MANIFESTO (1972); FEMINIST FILM AND VIDEO ORGANIZATIONS - WOMANIFESTO (1975); KLONARIS / THOMADAKI - MANIFESTE POUR UNE FÉMINITÉ RADICALE POUR UN CINÉMA AUTRE (1977);CAROLEE SCHNEEMANN - WOMEN IN THE YEAR 2000 (1977); Z.BUDAPEST, U.ROSENBACH, S.B.A.COVEN - FIRST MANIFESTO ON THE CULTURAL REVOLUTION OF WOMEN (1978); EWA PARTUM - CHANGE, MY PROBLEM IS A PROBLEM OF A -
TOWARDS TRANSMODERNISM: Transcendence, Technospirituality, and Technoculture
TOWARDS TRANSMODERNISM: Transcendence, Technospirituality, and Technoculture Felicity Van Rysbergen (B.A. Hons, University of Melbourne) Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy March 2011 Journalism and Media Research Centre The University of New South Wales 2 ABSTRACT This thesis argues that the pervasive merging of technocultural and sacred metaphors uncovers a longstanding Western tradition of inscribing the technologically new with the language of mysticism – a transcendental excess that underlies the logic of late capitalist notions of progress and evolution. By claiming that the transcendent moment has utterly saturated our technological desires, preserving an originary sense of the sacred at the inventive heart of science and technology, it sees this ‘technocultural transcendence’ as a model for thinking about an ironic return of grand narratives like metaphysics, truth, and the absolute, used wittingly to revitalise theory just as its last gasp has (perhaps prematurely) been proclaimed. The thesis therefore also seeks to theorise an emerging ‘transmodernity,’ or the post of postmodernism, through critical cultural readings of key transcendent myths in technoculture – Italian Futurism (art), cyberpunk (science fiction), cyberfeminism (film and performance art), and Integral theory (secular transformative spirituality). Each chapter offers examples of how the twinned concepts of transcendence and technology help create the conditions for the emergence of transmodernism, and works to provide potential examples of a resulting transmodern methodology in action. Throughout this thesis, the burgeoning desire for reconstructing what was once deconstructed, fragmented, and disavowed is examined, not to simply return past foci of theoretical enquiry to the margins or the marginalised to the centre, but to reveal the primary message of transmodernism – that both deconstruction and reconstruction hold equal significance on a continuum of understanding socio-cultural change. -
“No Place” in Cyberspace
Bard College Bard Digital Commons Senior Projects Spring 2020 Bard Undergraduate Senior Projects Spring 2020 “No Place” in CyberSpace Scarlett Sinay Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2020 Part of the American Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Sinay, Scarlett, "“No Place” in CyberSpace" (2020). Senior Projects Spring 2020. 138. https://digitalcommons.bard.edu/senproj_s2020/138 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. “No Place” in CyberSpace 1 Senior Project Submitted to The Division of Social Studies of Bard College by Scarlett Sinay Annandale-on-Hudson, New York May 2020 1 Image designed by Nicolás Vargas. Originally posted to their account @blackpowerbottomtext, on Instagram. 1 Acknowledgements I would like to express my sincerest appreciation and gratitude to my thesis advisors, Kenneth Stern and David Shein. This project was made possible by your combined and unfaltering mentorship and encouragement. A very special thanks to Anna Gjika and Ed Halter, two past professors of mine. -
Post-Cyber Feminist International 15–19 November 2017
Institute of Contemporary Arts www.ica.art Post-Cyber Feminist International 15–19 November 2017 www.ica.art/pcfi A particularly gendered set of obstacles emerges from the contemporary ubiquity and commodification of the digital sphere. From sexual harassment and privacy to issues surrounding divisions of labour, the progress of gender justice has in some ways failed to keep pace with the dizzying velocity of digital developments. At the same time, new networked technologies have come to dominate the horizons of critical discourse, pushing older and more quotidian devices to the margins of cultural visibility. And yet, these domesticated technologies (from the Hoovers to HRT) continue to exert a shaping influence on many people’s everyday lives. It is critical that feminists find new ways of interrogating technologies in order to forge a radical gender politics fit for an era in which the analogue and the digital are inexorably intertwined. Traversing the fields of philosophy, art, performance, politics and gender theory, this five day convening of thinkers and artists advances discourses of techno- feminism that have unfolded over the past two decades. Programmed in partnership with writer Helen Hester, Post-Cyber Feminist International marks twenty years since The First Cyberfeminist International (Documenta X, Kassel, Germany, 1997) and pays homage to its productive format and legacy. With the technological landscape vastly changed since the first International, we are living in a time well beyond the imagined future of the first cyberfeminists. Expanding upon this particular genealogy, this convening purposefully constellates thinkers to consider a new vision for post-cyber feminism that is substantive and developed, without being exclusionary of contestation. -
Networks of Exclusion in a Gendered Organization in the High-Tech Industry
NETWORKS OF EXCLUSION IN A GENDERED ORGANIZATION IN THE HIGH-TECH INDUSTRY A dissertation presented By Ethel L. Mickey to The Department of Sociology and Anthropology In partial fulfillment of the requirements for the degree of Doctor of Philosophy In the field of Sociology Northeastern University Boston, Massachusetts May 2018 1 NETWORKS OF EXLCUSION IN A GENDERED ORGANIZATION IN THE HIGH-TECH INDUSTRY A dissertation presented By Ethel L. Mickey ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Sociology in the College of Social Sciences and Humanities of Northeastern University May 2018 2 ABSTRACT As part of the reinvigorated #MeToo movement against sexual harassment following the 2016 US presidential election, a wave of high-profile complaints of sexism have surfaced against prominent technology companies including Google and Uber. Innovative technology companies in the United States widely assert their commitments to diversity, but the high-tech industry nonetheless remains dominated by young, white men. Efforts to advance women in knowledge- based industries regularly focus on networking, evidenced by the plethora of support programs designed to help women build strategic relationships to overcome powerful, male-dominated networks commonly referred to as “old boys’ clubs.” This dissertation explores the everyday, gendered practices of networking through a qualitative case study of an American high-tech organization that I call Data, Inc. I contribute to gendered organizations theory, critical feminist studies of technology, and social network theory by examining the interplay between individual agency and organizational structures. I argue that networks and practices of networking inadvertently reproduce intersectional inequalities in work organizations in the new economy, characterized by intensified economic precarity and workplace transformations like globalization and the rise of information technology.