Jennifer Chan
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.dpi Feminist Journal of Art and Digital Culture: Gender(ed) Cultures on the Internet

Fri Sep 13, 2013 00:00

Montreal, Canada

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

In the Themed Section of its 28th issue, .dpi is looking at the internet as a heterogenous space that allows for the deliberation and challenging of gender ideals.

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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 identifying as male and recurring uproars over representation disparity in video games and net art, 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 et AskMen and MPUA (pickup artists) forums. 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, feminist networked practices are pluralist today. Early artistic users such as Netochka Nezvanova 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 to latent commentary in image aggregation on tumblrs. Elsewhere on the internet, honest writing by bloggers and writers such as Karley Sciortino (Slutever) et Marie Calloway 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)

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”).

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The Strange Rituals of TEDxSummerisle

I have no idea how many people were involved with perpetuating this fiction, either in planning or in performance, either with explicit knowledge of what was planned, or following along as it happened."

really begs the question of "pix or it dint happen"-but what if too many pix or pix posted at the wrong time? twitter is pretty fickle for viewership, it doesn't matter if you have X number of followers but depends which of them are looking at the stream when you're tweeting or who RTs your tweet atm.

I also wonder if the first website ever were restored to it's original URL and no one blogged about it, would anyone know?

This is a fantastic project by the way :)


Breaking the Ice

Correction: these days people need a variety of offshoots from the longform criticism*


Breaking the Ice

I'm a young one and I've been following Rhizome since 2008. I'm a pretty rare commenter. I think its a good overview of "new media art" for students and newbies, but I think these days I people offshoots that are more current and manageable. I hate to sound like a nagging user but I lingered on the site more around hte discussion forums when the navigation bar was tabbed instead of drop-down.

There are a variety of short and longer reading pieces on ArtFCity that I enjoy because sometimes there really is only 10 minutes to read art news. Something between what Animal is doing with coolhunting net pieces that are pleasant and easy to understand in 5 mins (all summarized in one paragraph), and 30 min e-flux style reads that are more in-depth. I somehow want these to be available in a saveable format for an e-reader too.

I would also like to see "artistic" guest posts from casually academic pundits like Curt Cloninger and Tom Moody instead of the usual Q+A profile interviews. ArtFCity invites/moderates guestbloggers, this way new information on particular art scenes reaches their blog and makes it not so NYC-centric, maybe this is something you could consider. Finally, having two writers write a review on a same big media art museum show might be interesting... just some ideas.


David Hanes Totally Barely at NO FOUNDATION, Toronto

Thu Mar 07, 2013 19:00 - Sun Mar 17, 2013

Toronto, Canada

David Hanes, Aware, No. 35, 2011-2013
dye-sublimation print, polyester nylon, wood, nails, glue

For his exhibition, Totally Barely at NO FOUNDATION, David Hanes’ two new bodies of sculptural works address cultural developments in the use and distribution of images and objects. The smaller sculptural works in Hanes' Popular Objects series were created using trending items purchased on eBay. The objects themselves are coupled with digital photographs of themselves face mounted to plexiglass. The shiny photographs act as a digital mirror, simultaneously reflecting and cataloguing these objects. Together, these two series of sculptural works aim to represent the translation of auratic value from the dematerialized online world into physical space, questioning the possibility of these extracted objects holding any of their original desirability.

David Hanes is a visual artist whose trans-media practice explores the space bridging lived experience and art. His work describes a personal relationship to a visual culture that is linked to the underlying currency of everyday life. Exhibiting in both offline and online communities, Hanes has shown work in Toronto, Los Angeles, New York, Syracuse, Kansas City, Vancouver, London (UK) and the Internet. Hanes runs the "sincerity" blog and is the co-founder of the online project He currently lives and works in Toronto. Website:

To view works in this exhibition, see

1086 Queen Street West, Toronto, Canada

1082 Queen Street West, Toronto, Canada

March 7 - March 17, 2013
Gallery Hours:
Thursday/Friday to Saturday 12-6 PM,
Sunday 1-5 PM,
or by appointment

Please direct all inquiries to Katharine Mulherin at 416.993.6510 or email

1082 + 1086 Queen Street West, Toronto, ON M6J 1H8

187 Chrystie Street, New York, NY 10002

phone (Canada): 416.993.6510
cell (New York): 347.406.3690