Cyberfeminism

Cyberfeminism is a sort of alliance that wants to defy any sort of boundaries of identity and definition and rather be truly postmodern in its potential for radical openness.[1] This is seen with the 1997 Old Boys Network's 100 anti-theses which lists the 100 ways "cyberfeminism is not."[2] Cornelia Sollfrank from the Old Boys Network states that:[3]

Cyberfeminism is a myth. A myth is a story of unidentifiable origin, or of different origins. A myth is based on one central story which is retold over and over in different variations. A myth denies one history as well as one truth, and implies a search for truth in the spaces, in the differences between the different stories. Speaking about Cyberfeminism as a myth, is not intended to mystify it, it simply indicates that Cyberfeminism only exists in plural.

Mia Consalvo defines cyberfeminism as:[4]

1. a label for women—especially young women who might not even want to align with feminism's history—not just to consume new technologies but to actively participate in their making;
2. a critical engagement with new technologies and their entanglement with power structures and systemic oppression.

The dominant cyberfeminist perspective takes a utopian view of cyberspace and the Internet as a means of freedom from social constructs such as gender, sex difference and race. For instance, a description of the concept described it as a struggle to be aware of the impact of new technologies on the lives of women as well as the so-called insidious gendering of technoculture in everyday life.[5] It also sees technology as a means to link the body with machines. This is demonstrated in the way cyberfeminism—as maintained by theorists such as Barbara Kennedy—is said to define a specific cyborgian consciousness concept, which denotes a way of thinking that breaks down binary and oppositional discourses.[6] There is also the case of the renegotiation of the artificial intelligence (AI), which is considered top-down masculinist, into bottom-up feminized version labeled as ALife programming.[7]

VNS Matrix member Julianne Pierce defines cyberfeminism: "In 1991, in a cozy Australian city called Adelaide, four bored girls decided to have some fun with art and French Feminist theory... with homage to Donna Haraway they began to play around with the idea of cyberfeminism."[8]

Authors Hawthorne and Klein explain the different analyses of cyberfeminism in their book: "Just as there are liberal, socialist, radical and postmodern feminists, so too one finds these positions reflected in the interpretations of cyberfeminism."[9] Cyberfeminism is not just the subject matter, but is the approach taken to examine subject matter. For example: Cyberfeminism can be a critique at equality in cyberspace, challenge the gender stereotype in the cyberspace, examine the gender relationship in cyberspace, examine the collaboration between human and technology, examine the relationship between women and technology and more.[10]

Cyberfeminism arose partly as a reaction to "the pessimism of the 1980s feminist approaches that stressed the inherently masculine nature of techno-science", a counter movement against the 'toys for boys' perception of new Internet technologies. According to a text published by Trevor Scott Milford,[11] another contributor to the rise of cyberfeminism was the lack of female discourse and participation online concerning topics that were impacting women. As cyberfeminist artist Faith Wilding argued: "If feminism is to be adequate to its cyberpotential then it must mutate to keep up with the shifting complexities of social realities and life conditions as they are changed by the profound impact communications technologies and techno science have on all our lives. It is up to cyberfeminists to use feminist theoretical insights and strategic tools and join them with cybertechniques to battle the very real sexism, racism, and militarism encoded in the software and hardware of the Net, thus politicizing this environment."

Donna Haraway is the inspiration and genesis for cyberfeminism with her 1985 essay "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century" which was reprinted in Simians, Cyborgs and Women: The Reinvention of Nature (1991).[12] Haraway's essay states that cyborgs are able to transcend the public and private spheres, but they do not have the ability to identify with their origins or with nature in order to develop a sense of understanding through differences between self and others. Shulamith Firestone and her book The Dialectic of Sex: The Case for Feminist Revolution has been named as a precursor to Haraway's work in cyberfeminism.[13] Firestone's work focuses reproductive technology and advancing it to eliminate the connection of the feminine identity being connected to child birth.[14] Firestone believed that gender inequality and oppression against women could be solved if the roles around reproduction did not exist. Both Firestone and Haraway had ideals based on making individuals androgynous, and both women wanted society to move beyond biology through improving technology.[13]

Cyberfeminism is considered a predecessor to networked feminism. Cyberfeminism also has a relationship to the field of feminist science and technology studies.

British cultural theorist Sadie Plant chose cyberfeminism to describe her recipe for defining the feminizing influence of technology on western society and its inhabitants.[15]

Many critiques of cyberfeminism have focused on its lack of intersectional focus, its utopian vision of cyberspace, especially cyberstalking and cyber-abuse,[30] its whiteness and elite community building.[31]

One of the major critiques of cyberfeminism, especially as it was in its heyday in the 1990s, was that it required economic privilege to get online: "By all means let [poor women] have access to the Internet, just as all of us have it—like chocolate cake or AIDS," writes activist Annapurna Mamidipudi. "Just let it not be pushed down their throats as 'empowering.' Otherwise this too will go the way of all imposed technology and achieve the exact opposite of what it purports to do."[32] Cyberfeminist artist and thinker Faith Wilding also critiques its utopian vision for not doing the tough work of technical, theoretical and political education.

The practice of cyberfeminist art is inextricably intertwined with cyberfeminist theory. The 100 anti-theses make clear that cyberfeminism is not just about theory, while theory is extremely important, cyberfeminism requires participation. As one member of the cyberfeminist collective the Old Boys Network[33] writes, cyberfeminism is "linked to aesthetic and ironic strategies as intrinsic tools within the growing importance of design and aesthetics in the new world order of flowing pancapitalism".[3] Cyberfeminism also has strong connections with the DIY feminism movement, as noted in the seminal text DIY Feminism,[34] a grass roots movement that encourages active participation, especially as a solo practitioner or a small collective.

Around the late 1990s several cyberfeminist artists and theorists gained a measure of recognition for their works, including the above-mentioned VNS Matrix and their Cyberfeminist Manifesto for the 21st century,[35] and Faith Wilding and Critical Art Ensemble. Some of the better-known examples of cyberfeminist work include Auriea Harvey's work, Sandy Stone, Nancy Paterson,[36] Linda Dement's Cyberflesh Girlmonster[37] a hypertext CD-ROM that incorporates images of women's body parts and remixes them to create new monstrous yet beautiful shapes; Melinda Rackham's Carrier, a work of web-based multimedia art that explores the relationship between humans and infectious agents;[38] Prema Murthy's 1998 work Bindigirl,[39] a satirical Asian porn website that examines the intersection of racialized gender, sexuality, and religion online; Murthy's 2000 project Mythic Hybrid,[40] based on reports of mass hysteria among microchip factory workers in India; Shu Lea Cheang's 1998 work Brandon, which was the first Internet based artwork to be commissioned and collected by the Guggenheim.[41] A later work of Cheang's, I.K.U. (2001), is a sci-fi pornographic film that imagines a cybersexual post-Blade Runner universe, where sexual encounters with feminine, shapeshifting "replicants" are distilled and collected for resale, and ultimately reuse. I.K.U. was the first pornographic film to screen at Sundance.[42] Dr. Caitlin Fisher's online hypertext novella "These Waves of Girls" is set in three time periods of the protagonist exploring polymorphous perversity enacted in her queer identity through memory. The story is written as a reflection diary of the interconnected memories of childhood, adolescence, and adulthood. It consists of an associated multi-modal collection of nodes includes linked text, still and moving images, manipulable images, animations, and sound clips. Recent artworks of note include Evelin Stermitz's World of Female Avatars in which the artist has collected quotes and images from women over the world and displayed them in an interactive browser based format, and Regina Pinto's Many Faces of Eve.[43] Orphan Drift (1994-2003) were a 4.5 person collective experimenting with writing, art, music and the internet's potential "treating information as matter and the image as a unit of contagion."[44]

An important part of the generation of cyberfeminist theory and critique was the emergence of a few critical listserves that served as the basis for the organization of three international cyberfeminist events and several major publications.

• Nettime – More broadly situated in new media theory the nettime listserve became a site for the discussion, performance, and arbitration of cyberfeminist theory in 1997.
• FACES – The FACES-l.net mailing list started in the spring of 1997 partly out of a series of concurrent dinner conversations known as the Face Settings Project. The initial goal of the project was to bring together women working in the intersections of art, media to share their work and to counter the lack of women's work presented at international festivals. Faces-l was created as a means for the artists, curators, DJs, designers, activists, programmers, and technologists meeting at festivals to share their work and discuss gender and media with an international community of women.[45]

• Radhika Gajjala
• N. Katherine Hayles
• Donna Haraway
• Susanna Paasonen
• Sadie Plant

• Cyborg feminism
• Feminist technoscience
• FemTechNet
• Net art
• Nancy Paterson
• Networked feminism
• Post-humanism
• riot grrrl
• Speculative realism
• Transhumanism
• The Cyborg Manifesto
• TechnoFeminism

• "Reading room". obn.org. Old Boys' Network.
• "Cyberfeminist Manifesto". sysx.org. VNS Matrix. 1991. Archived from the original on 29 May 2009.
• Various authors (July 1998). "VARIOUS ARTICLES". n.paradoxa. 2.
• Everett, Anna (Autumn 2004). "On cyberfeminism and cyberwomanism: high‐tech mediations of feminism's discontents". Signs: Journal of Women in Culture and Society. 30 (1): 1278–1285. doi:10.1086/422235. S2CID 144615884.
• Daniels, Jessie (Spring 2009). "Rethinking cyberfeminism(s): race, gender, and embodiment". Women's Studies Quarterly. 37 (1–2): 101–124. doi:10.1353/wsq.0.0158. JSTOR 27655141.
• Aydemir, Duygu (2021). Siberfeminizm: Siborg Beden ve Siber Kimlikte Cinsiyetin Durumu (1 ed.). Istanbul: Urzeni Publishing House. p. 298. ISBN 978-625-7647-10-6. Retrieved 21 December 2021.

• 100 anti-theses Archived 2008-12-20 at the Wayback Machine
• Feminist Practices and Politics of Technology
• The Beginner's Cyberfeminist Dictionary
• Faith Wilding's essay 'Where is Feminism in Cyberfeminism?'
• cyberfem – feminismos en el escenario electronico / espai d'art contemporani de Castello
• Website of SubRosa, Faith Wilding and Hyla Willis
• uat.edu
• Girls' Online Agency: A Cyberfeminist Exploration from the University of Ottawa Press
• Cyberfeminist Index by Mindy Seu