Discussions (0) Opportunities (2) Events (2) Jobs (0)
OPPORTUNITY

Call .dpi issue 28 (Fall 2013)


Deadline:
Fri Sep 13, 2013 00:50

Location:
Canada

Themed Section: Gender(ed) Cultures on the Internet
Guest Editor: Jennifer Chan

On the internet, like-minded users find communities of interest based on mobilizing conversations around feminism and masculinism alike. Donna Haraway and Coco Fusco suggest that the early internet may have precipitated emancipatory potentials for the performance of gender, as receding boundaries between bodies and machines would allow for historically invisibilized and marginal gender subjectivities to be heard. Conversely, the imbalanced history of representational structures upheld by museum and academic art institutions run up against these optimistic intentions on the internet. In light of a vast majority of Wikipedia editors http://www.dailydot.com/society/wikipedia-gender-gap-sarah-stierch/ identifying as male and recurring uproars over representation disparity in video games http://www.guardian.co.uk/technology/gamesblog/2009/jul/31/videogames-gender-balance/ and net art http://artfcity.com/2012/04/17/enough-with-the-dude-centric-net-art-shows/, the gaps in representation of women and queer people in technology and new media art remain unexplained and unresolved. On one hand, the complex, intertwined relationship between social discourse and representations of gender online could be examined, since rigid ideals of masculinity and femininity are still dominant in online communities like OKCupid http://www.okcupid.com/ et AskMen http://www.askmen.com/ and MPUA (pickup artists) forums http://www.pick-up-artist-forum.com/. On the other, artistic practice that co-opts and/or questions these definitions may open doors for new ways of understanding the social construction of gender.

While Cyberfeminist collectives of the 90s sought to specifically infiltrate the male-dominated arena of net.art, feminist networked practices are pluralist today. Early artistic users such as Netochka Nezvanova http://www.medienkunstnetz.de/artist/nezvanova/biography/ and the late LaTurbo Avedon exploit the apparent anonymity of networks to project unstable personas and interests. Nowadays, online feminist critique reflects gendered realities and aspirations of users, ranging from subversive pop cultural remix http://www.popculturepirate.com/ to latent commentary in image aggregation http://womenasobjects.tumblr.com/ on tumblrs. Elsewhere on the internet, honest writing by bloggers and writers such as Karley Sciortino (Slutever http://www.slutever.com/) et Marie Calloway http://mariecalloway.tumblr.com/ have invoked blogosphere uproar over the “correct” artistic self-representation of female sexuality. Ultimately, binary notions of gender (masculinity and femininity) as an acculturated performance of imitating socialized ideals manifests in technology, and is also a product of technology. Yet these conventions are rendered unstable by user deliberation of such representations within the informal space of the web (1). What kinds of practices and representations are currently important to women and queer people? What conversations reflect the realities of gender distribution in art on the internet? What would a truly postgender online environment look like? What kinds of uses of the network breach existing ideas of bodily performativity?

Submission of completed articles may include (and are not limited to):
- analyses of queer, transgender, and/or heterosexual culture online;
- networked art practices and conversations on feminism and queerness;
- descriptions of non-academic, artistic and social feminist conversations and practices facilitated by the internet;
- the gendered structure of the internet;
- feminist analyses on internet subculture;
- interviews with creatives who work within related themes;
- statements and manifestos;
- alternative histories of online feminist art practice.

Completed texts and/or projects by interested participants of all sexualities and orientations are welcomed.

(1) Jack Judith Halberstam. « Automating Gender : Postmodern Feminism in the Age of the Intelligent Machine », Feminist Studies, Vol. 17, No. 3. (Automne 1991), 440.

To Submit

.dpi is looking for submissions relevant to (or stemming from) “the Web”, including text, image, sound, video, animation, interactive works, or others, and any combination of these, produced collaboratively or individually. Types of submissions include (but are not limited to) short essays, criticism, interviews, case studies, reviews, reports, creative works (or extracts), and other imaginative responses. The editorial committee encourages the submission of non-academic contributions (or that go beyond the academic style). Text length can vary between 500 and 1500 words (maximum), depending on the form and the media used.

Please send your submission (along with relevant images, videos, hyperlinks, etc.), a short biography (100 words) per person involved, an abstract (100 words), as well as 2 to 5 keywords, by Friday, 13 September 2013 to: revuedpi(at)gmail.com

An honorarium is offered depending on the length and complexity of the contribution. The authors and artists are responsible for all copyright related to the submitted content.

Submissions that fall outside of the Themed Section are also welcomed and will be considered for publication in the Field Studies Section (“hors dossier”).




Based in Montreal and published online, .dpi opens a unique and bilingual space for dialogue and interdisciplinary critical reflection, research, experimentation, documentation, and positions and propositions, situated at the intersection of art, technology and feminisms. The journal is a platform where the bold, critical, engaged and curious contributor may question issues related to feminism (in all its varieties), art and digital culture.

http://dpi.studioxx.org
http://dpi.studioxx.org/blog
https://www.facebook.com/dpistudioxx
https://twitter.com/dpi_revue


EVENT

Exhibition DOUBLE LIFE by Olga Kisseleva @ Studio XX


Dates:
Thu May 09, 2013 18:00 - Thu Jun 13, 2013

Location:
Montréal, Canada

Curators Natacha Clitandre and Mariève K. Desjardins are pleased to present, in collaboration with Studio XX, the North American premiere of Double Life, a video installation by Olga Kisseleva, from May 9 to June 13, 2013. A series of activities will complement the exhibition as a means to explore some of the issues raised by the work, and several Montreal artists will also have the opportunity to contribute to the project by producing new content.

Double Life is a video installation made up of several diptypchs focusing on the various ways in which artists have to reconcile (or not) working a necessary “day job” alongside their art practice. By portraying artists in various spheres of their lives, sometimes very different and rarely viewed at the same time, Kisseleva raises questions about the contribution of the artist, and the recognition of their work in a society that values efficiency, production and profit. The artist’s stories reflect the often alienating situation that occurs when living a double life.

Opening May 9, 2013, 6-8PM, in the presence of the artist.

Russian artist Olga Kisseleva uses new technologies, photography and video to give us a statement of the world dominated by technology and behavior conditioning. The artist reflects a complex reality, offering multiple readings: both local and globalized. Her work deals with urban territory, identity and media and reveals flaws in the Western model. Directing her gaze at post-modern capitalist societies, Olga Kisseleva tries to find places reserved for intellectual and artistic activity. Founder of the Art and Science Laboratory at the University Paris 1 Panthéon-Sorbonne, Olga Kisseleva plays a pioneering role in the field of contemporary art research and reflection on emerging forms of creation. The works of Olga Kisseleva belong to many collections. Her work has been presented at the National Center for Contemporary Art (Moscow, Russia), MoMA (New York, USA), the ARC (Paris, France), KIASMA (Helsinki, Finland), the Consortium (Dijon, France), the Museum Nacional Centro de Arte Reina Sofia (Madrid, Spain), the Biennales of Venice, Istanbul, Dakar, Tirana, Rennes and Moscow...

The curators and the artist are grateful to Conseil des arts et des lettres du Quebec and Consulat general de France à Quebec for their support. They also want to thank Studio XX.


EVENT

A new feminist journal of art and digital culture


Dates:
Thu Apr 25, 2013 17:00 - Thu Apr 25, 2013

Location:
Montréal, Canada

.dpi gets a makeover! (beta version)
Current issue's themed section: Hacktivism


image

Founded by artist-run-centre Studio XX in 2004, in Montreal, the publication .dpi has recently undergone a major transformation in order to assert itself as a feminist journal of art and digital culture. In 2013, with continuing administrative and technological support from Studio XX, the journal .dpi became an independent project, with a new platform (beta version) and new team including permanent editor in chief, Sophie Le-Phat Ho, and a new editorial committee composed of Julie Alary Lavallée, Amber Berson, Esther Bourdages, Christina Haralanova, Corina MacDonald, Katja Melzer, Candace Mooers and Deanna Radford.

In a time when social gains are threatened, funding for artist-run-centres is precarious, and the need for intelligent critique is urgent, the new crew at .dpi wishes to respond to a real need for the creation of an interdisciplinary community of those at once curious and critical of technologies, feminisms and art.

Bringing together a dozen local and international participants, .dpi 27 presents a themed section on hacktivism coordinated by Christina Haralanova, a feminist activist and researcher who is interested by freedom in technology and open-source software. "Hacktivism: the Art of Practicing Life and Computer Hacking for Feminist Activism" brings together unique perspectives and critiques of the current state of hacktivism, a fusion of hacking and activism.

ISSUE 27 - HACKTIVISM
http://dpi.studioxx.org/en/no/27-hacktivism

EDITORIAL

Do We Have Culture?
Sophie Le-Phat Ho in collaboration with the .dpi Editorial Committee

HACKTIVISM

[ Introduction ] Hacktivism: the Art of Practicing Life and Computer Hacking for Feminist Activism
Christina Haralanova

Feminist Hackerspaces as Safer Spaces?
Sophie Toupin

Hacking with Care : Attention, bien-être et politique de l'ordinaire dans le milieu hacktiviste
Anne Goldenberg

Technologically Empowered Body as a Weapon
Marta Heberle

Le hacktivisme et après? Entrevue avec Edith Brunette
Julie Alary Lavallée

Exposing the Inner Workings: An Interview with Nancy Mauro-Flude
Margaret J. Mather

Processes at Play: .dpi's Amber Berson interviews Valentina Vuksic
Amber Berson

[ Project ] .dp!
Linda Hilfling

ARTICLE

Musique et politique, pratiques de femmes
Esther Bourdages

BOOK REVIEW

"Where have all the interesting women gone?"
.dpi Book Club

Based in Montreal and published online, .dpi opens a unique and bilingual space for dialogue and interdisciplinary critical reflection, research, experimentation, documentation, and positions and propositions, situated at the intersection of art, technology and feminisms. The journal is a platform where the bold, critical, engaged and curious contributor may question issues related to feminism (in all its varieties), art and digital culture.

http://dpi.studioxx.org/
https://www.facebook.com/dpistudioxx
https://twitter.com/dpi_revue


OPPORTUNITY

Electronic journal .dpi - Re-Imagined | .dpi 27 : hacktivism


Deadline:
Mon Mar 11, 2013 16:40

Founded by Studio XX in 2004, electronic journal .dpi has recently undergone an important process of transformation with the goal of reaffirming and re-focusing its role as a feminist journal on art and digital culture.

In 2013, benefiting from the ongoing support of Studio XX’s administrative and technological support, .dpi acquires the status of an independent project with a new platform and a renewed editorial team, including Sophie Le-Phat Ho, as permanent editor-in-chief, and an editorial committee composed of Julie Alary Lavallée, Amber Berson, Esther Bourdages, Christina Haralanova, Corina MacDonald, Katja Melzer, Candace Mooers and Deanna Radford.

Based in Montreal as an online journal, .dpi opens up a unique and bilingual space for dialogue and interdisciplinary critical reflection, research, experimentation, documentation, and positions and propositions situated at the intersection of art, technology and feminisms. The journal is a platform where the bold, critical, engaged and curious contributor may question issues related to feminism (in all its varieties), art and digital culture.

.dpi 27 Call for projects

For this very special next issue, .dpi seeks proposals that reflect its renewed mission.

As part of issue 27, .dpi launches an open call for a themed section on hacktivism (see below) guest edited by Christina Haralanova, a researcher interested in work that intersects feminist and techno activism, such as women’s contribution to free and open source software development.

Proposals for submissions that fall outside of the theme are also welcomed.

.dpi 27 will be launched in April 2013 in its new platform and website. A special launch event will take place (details to come).

Themed Section: Hacktivism
Guest Editor: Christina Haralanova


Hacktivism: the Art of Practicing Life and Computer Hacking for Feminist Activism

Hacktivism fuses hacking and activism indicating the use of technical expertise, such as computer programming skills, for social activism and political action. In other words, hacktivism is described as hacking with a political purpose, and does not limit itself to the largely mediatized sense of disruptive online actions.

Hacking is often used to indicate activities related to electronics, computer hardware and software in the spirit of DIY (Do-it-Yourself) experimenting, testing, improving, and repairing of technological devices. Hacking can take different forms: from computer security and engineering to travel, radio, bike and food hacking. In a wider sense of the word, a hacker refers to a state of mind, in which one strives to learn how things are made by repairing, repurposing and improving them. This more inclusive definition considers not only programmers, but also geeky individuals.

Despite its popularity, of all the activities around technology, hacking is the one least visited by feminist geeks and professionals who self-identify as women. Perhaps the lack of documentation and research on the subject amplifies this observation. Yet learning technical skills on one’s own or in groups, organizing or participating in discussions, experimenting informally with hardware, software and electronics, are all part of a feminist approach to DIY learning. With this 27th issue, .dpi wants to give more visibility to hacktivism used by women and feminists as a tool for change and to investigate the various forms it can take.

The call is open to practitioners and researchers interested in such issues as political aspects of technology, information governance, gender and hacking, hacktivist art, or feminist and strategic uses of technologies.

How to submit a proposal

.dpi is looking for proposals relevant to (or stemming from) “the Web”, including text, image, sound, video, animation, interactive works, etc., and any combination of these, produced collaboratively or individually. Please send your proposal (maximum 300 words), a short biography (100 words) and a CV (per person involved) by Monday, March 11, 2013 to: revuedpi at gmail . com (Successful applicants will need to hand in their contribution by April 8.)

Types of submissions include (but are not limited to) short essays, criticism, interviews, case studies, reviews, reports, creative works (or extracts), and other imaginative responses. Text length can vary between 500 and 1500 words (maximum), depending on the form and the media used. An honorarium is offered depending on the length and complexity of the contribution. The authors and artists are responsible for all copyright related to the submitted content. If you are applying with an artwork, it must be completed by the date of submission and included with the proposal.

http://dpi.studioxx.org

In addition, if you want to get involved in the process of shifting the model and mandate of .dpi and help support the editorial team, get in touch with us! revuedpi at gmail . com

En français : http://www.studioxx.org/newsletter/appelDpi27.xhtml