Cornelia Sollfrank (ed.): Die schönen Kriegerinnen. Technofeministische Praxis im 21. Jahrhundert (2018) [German]
Filed under book | Tags: · activism, cyberfeminism, feminism, hacking, internet, media activism, technology, xenofeminism
“Die schönen Kriegerinnen versammelt sieben aktuelle technofeministische Positionen aus Kunst und Aktivismus. Auf höchst unterschiedliche Weise erweitern diese die Denk- und Handlungsansätze des Cyberfeminismus der 1990er Jahre und reagieren damit auf neue Formen von Diskriminierung und Ausbeutung. Geschlechterpolitik wird unter Bezugnahme auf Technologie verhandelt, und Fragen der Technik verbinden sich mit Fragen von Ökologie und Ökonomie. Die unterschiedlichen Positionen um diesen neuen Techno-Öko-Feminismus verstehen ihre Praxis als Einladung, an ihre sozialen und ästhetischen Interventionen anzuknüpfen, dazuzukommen, weiterzumachen, nicht aufzugeben.
Mit Beiträgen von Christina Grammatikopoulou, Isabel de Sena, Femke Snelting, Cornelia Sollfrank, Spideralex, Sophie Toupin, hvale vale, Yvonne Volkart.”
Publisher transversal texts, Vienna, August 2018
ISBN 9783903046160, 3903046167
Filed under book | Tags: · art history, internet, internet art, net art, networks, public sphere, web
“This dissertation narrates the development of internet art, a diverse set of practices united by their interrogation of the technological, social, and/or political bases of computer networks. Covering the period from 1994, when internet art coalesced around the rise of the World Wide Web, to 2003, when both internet art and internet culture writ large began to respond to the rise of social media and web 2.0 technologies, the dissertation homes in on specific net art projects that variously engaged or challenged this period’s most persistent claim: that the internet is a new, digital public sphere. By studying how these artworks critiqued this claim, the dissertation uncovers three major models through which net art has asserted the publicness of computer networks—as an interpersonal network that connects or unites strangers into groups; as a virtual space akin to physical spaces of public gathering, discourse, and visibility; and as a unique platform for public speech, a new mass media potentially accessible to all.
Claims for the public status of computer networks rest on their ability to circulate information and facilitate discussion and debate. This definition of publicness is rooted in the concept of the classical public sphere as theorized by Jï¿½rgen Habermas. The dissertation thus reviews Habermas’s model of the classical public sphere, and its most significant critiques, in order to interrogate the terms of a digital public sphere. The dissertation also engages Michael Warner’s work on the formation of publics, counterpublics, and the mass-cultural public sphere; Oskar Negt and Alexander Kluge’s analysis of shared experience as the foundation of the formation of public spheres and the role of mass media in this process; Henri Lefebvre’s articulation of the social production of space; and Gilles Deleuze and Alexander Galloway’s respective analyses of the role of network logics in systems of control.
As a whole, the dissertation provides an historical account and critical analysis of internet art that encompasses not only its technological evolution but also its confrontation with the claims of publicness upon which our understanding of computer networks, and the art made on and about them, are founded.”
Publisher University of California, Los Angeles, 2018
Filed under artists book | Tags: · affect, appropriation, art, internet, literature, performance, poetics, poetry
“This lecture premiered at The Louvre auditorium as part of FIAC’s public programs in October, 2017. To give it, I loaded the talk into a teleprompter program on my laptop. The linebreaks in the piece are a result of the way the teleprompter program broke them up in order to facilitate the reading of the work. Although I have never written lineated verse, I love the idea that a computer lineated the verse for me. This lecture, then, reads an awful lot like the way I talk, but it is truly nothing like the way I talk.”
Publisher Het Balanseer, Ghent, 2018