Laboria Cuboniks: Xenofeminism: A Politics for Alienation (2015) [EN, DE, ES, RO, IT, RU, SK, SL, SW, FR, PT, FA, PL, DK]

“Ours is a world in vertigo. It is a world that swarms with technological mediation, interlacing our daily lives with abstraction, virtuality, and complexity. XF constructs a feminism adapted to these realities: a feminism of unprecedented cunning, scale, and vision; a future in which the realization of gender justice and feminist emancipation contribute to a universalist politics assembled from the needs of every human, cutting across race, ability, economic standing, and geographical position. No more futureless repetition on the treadmill of capital, no more submission to the drudgery of labour, productive and reproductive alike, no more reification of the given masked as critique. Our future requires depetrification. XF is not a bid for revolution, but a wager on the long game of history, demanding imagination, dexterity and persistence.” (opening paragraph)

First published June 2015
GNU Public License

Commentary: Isabel de Sena (2019).

Xenofeminism: A Politics for Alienation: HTML, TXT, PDF (English)
Xenofeminismus. Eine Politik für die Entfremdung: HTML, TXT, PDF (German)
Xenofeminismo. Una política por la alienación: HTML, TXT, PDF (Spanish)
More translations (Romanian, Italian, Russian, Slovak, Slovenian, Swedish, French, Portuguese, Persian, Polish, Danish; added on 2019-3-6)

Laura Bear, Karen Ho, Anna Tsing, Sylvia Yanagisako: Gens: A Feminist Manifesto for the Study of Capitalism (2015)

“Our title signals a major redefinition of the multilayered historical meanings of the term gens. Gens began as the Roman concept of a family unit descended from a common male ancestor and was scaled up to social distinctions like aristocratic lineage. It was transformed by Lewis Henry Morgan to found the anthropological study of kinship and reveal the “original” matriarchal origins of community. Friedrich Engels then drew on Morgan to argue that the patriarchal form of gens led to the end of matriarchal systems. Gens is also, of course, the etymological root of gender, genus, genre, generations, and generate. We find this term broadly helpful because it carries a long history of the appropriation of human and non-human life-forces by social forms. Its varied usage inspires reflection on the depictions of these life-forces that in turn contribute to forms of social inequality. Moreover, it specifically refers to a history of contradictions between male authority and female kinship ties that signals the mix of capture and generativity that characterizes all social power. Finally, by adopting this term, we play with the irony that a patriarchal unit provides the root for the word gender even as we found our approach to capitalism on a more liberating (but hidden) ancestry of feminist analyses of gender, kinship, and race, as well as other forms of epistemological insights garnered from the margins.” (opening paragraph)

Part of the series Generating Capitalism, Fieldsights – Theorizing the Contemporary, Cultural Anthropology Online, March 2015.

Commentary: Donna Haraway (EnviroHumanities 2015, see note 16)

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Eccentric Manifesto (1922/1992)

“The ‘Depot of Eccentrics’ which on the 9th July 1922 published The Eccentric Manifesto–a pamphlet ‘the size of an ordinary letter’–proved an ephemeral collaboration. In the words of subsequent critics, ‘difference of opinion’, ‘stern criticism’ caused its dissolution soon after The Factory of Eccentric Actor’s first productions–a stage version of Gogol’s The Wedding (1922) and a Cocteau inspired piece in three acts, Foreign Trade on the Eiffel Tower (1923).

A great rarity, the manifesto itself does not seem to have been any more influential than the ‘depot’ which published it. Containing four articles–by Leonid Trauberg, Grigori Kozintsev, Sergei Yutkevich and professional gambler Georgii Kryzhitskii–its post-civil war Petrograd print issue was limited to 1000 copies. Of these ‘a majority’ were entrusted by Yutkevich to Pravda critic Khrisanf Khersonsky to spread around Moscow ‘using his contacts’. Sales went badly however and the whole stock was dumped in Khersonsky’s basement where, when the house caught fire, it was ‘completely destroyed.’

[…] Kozintsev and Trauberg later made the film New Babylon (1929), subtitled “Assault on the Heavens–episodes from the Franco Prussian War and the Paris Commune 1870-71”, based less on Karl Marx than on the history of the Paris Commune written by P.O. Lissagaray. [The screenings were accompanied with an ensemble playing a score by Dmitri Shostakovich]. … In later years Shostakovich was to claim that ‘my troubles on the political front began with New Babylon.'” (from the Introduction)

First published in Russian in St Petersburg, 1922
Translated and with an Introduction by Marek Pytel
Cover by Clifford Harper
Publisher Eccentric Press, London, 1992
22 pages
via Reality

Entry on Factory of Eccentricity in Saint Petersburg Encyclopedia (in English)

Publisher

PDF (lo-res), GIF images
Title page of Russian edition