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‹ a directory that gathers, stacks and links practices that work with, through and beyond (digital) fashion [âŠ]
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[001]
{{#arraymap:Sabine Seymour|,|x|x}}
Fashionable Technology
{{#arraymap:Book|,|x|x}}
Individual
autonomous
{{#arraymap:Fashion, Technology|,|x|x}}
This book provides an accessible yet thorough overview of electronic textiles and wearable technology, exploring the intersection of fashion, design, and science. Exploring both theory and practice, it demonstrates how technology is integrated into fabrics and garments with detailed explanations and rich visual examples. With contributions ranging from the MIT Media Lab to designer Hussein Chalayan, Seymour showcases a variety of pioneering designers, artists, companies, and research institutes, and highlights their groundbreaking projects alongside surveys of their wider work.
26.09.25
{{#arraymap: Fashion, Technology|,|x| }}
[002]
{{#arraymap:Mindy Seu|,|x|x}}
Cyberfeminism Index
{{#arraymap:Index|,|x|x}}
Individual
critical
{{#arraymap:Cybernetics, Feminism, Techno-social|,|x|x}}
Cyberfeminism Index by Mindy Seu
In Cyberfeminism Index, hackers, scholars, artists, and activists of all regions, races and sexual orientations consider how humans might reconstruct themselves by way of technology. When learning about internet history, we are taught to focus on engineering, the military-industrial complex, and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers, and computers. It is an environment that shapes and is shaped by its inhabitants and their use.
The creation and use of the Cyberfeminism Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it, and pushes it into plain sight. Edited by designer, professor, and researcher Mindy Seu, it includes more than 700 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, and bio-hacktivism; and depictions of feminist net art and new media art.
Both a vital introduction for laypeople and a robust resource guide for educators, Cyberfeminism Indexâan anti-canon, of sortsâcelebrates the multiplicity of practices that fall under this imperfect categorization and makes visible cyberfeminismâs long-ignored origins and its expansive legacy.
âthe Cyberfeminism Index is incomplete and always in progress..â
22.03.24
{{#arraymap: Cybernetics, Feminism, Techno-social|,|x| }}
[003]
{{#arraymap:Cristina Cochior, Jara Rocha, Karl Moubarak|,|x|x}}
The Cell for Digital Discomfort (CfDD)
{{#arraymap:Article|,|x|x}}
Collective
critical
{{#arraymap:Techno-social|,|x|x}}
Formed as part of the 2021/2022 BAK Fellowship for Situated Practice, the Cell for Digital Discomfort (CfDD)âcomposed of Cristina Cochior, Karl Moubarak, and Jara Rochaâare the guest editors of this special Prospections focus âDigital Discomfort,â a compilation of newly commissioned and archival resources such as texts, interviews, and videos that allow for a collective exploration of sensibilities around an affirmative repoliticization and redefinition of compu-relational practice.
23.04.24
{{#arraymap: Techno-social|,|x| }}
[004]
{{#arraymap:Laura Coombs, Laurel Schwulst, Mindy Seu|,|x|x}}
Multidimensional citation
{{#arraymap:Article|,|x|x}}
Collective
speculative
{{#arraymap:Agency, Authorship|,|x|x}}
At the start of 2020 we announced our collaboration by sending around a postcard. Three women in stone-colored clothing sat on the ground, our faces staring directly into the camera in a diagonal cascade. The postcard also contained a link to our website where we described ourselves and our collaboration.
Our differences allowed us to come together in a complementary way. An alliance of islands intuitively felt like our symbol: and for this reason we used three dots cascading â± for our websiteâs faviconâââthe small icon that appears near the web browserâs address bar.
âA citation should not be singular, but instead explicitly connected to the lineage of research that came before it.â
01.05.24
{{#arraymap: Agency, Authorship|,|x| }}
[005]
{{#arraymap:Donna J Haraway|,|x|x}}
An Evening With: Donna Haraway, Bruno Clarke and Rosi Braidotti
07.12.23
{{#arraymap:Event|,|x|x}}
19.08.24
[006]
{{#arraymap:Silvio Lorusso|,|x|x}}
Extending Horizons: The Praxis of Experimental Publishing in the Age of Digital Networks
{{#arraymap:Thesis|,|x|x}}
Individual
critical
{{#arraymap:Community, Network(s), Publishing|,|x|x}}
This dissertation is focused on the practices of experimental publishing that are intertwined with digital and networked technology, and borrow strategies derived from the context of arts and design. In order to build a model of interpretation of such practices, Lorusso defined a theoretical framework, made an overview of influential perspectives within the field, and carried out an investigation of the âcommunities of practiceâ in which experimental publishing takes place. Lorusso analyzes a phenomenology of projects that highlight the characteristics of an experimental approach in each specific stage of the publishing process. Finally, I developed an online archive for the purpose of categorizing and connecting the different case studies. The main question addressed is:
{{#arraymap:Silvio Lorusso|,|x|x}}
05.06.24
{{#arraymap: Community, Network(s), Publishing|,|x| }}
[007]
{{#arraymap:Sadie Plant|,|x|x}}
Zeros and Ones: Digital Women and the New Technoculture
{{#arraymap:Book|,|x|x}}
Individual
critical
{{#arraymap:Cybernetics, Feminism|,|x|x}}
Zeros and Ones is an investigation of the intersection between women, feminism, machines and in particular, information technology. Arguing that the computer is rewriting the old conceptions of man and his world, it suggests that the telecoms revolution is also a sexual revolution which undermines the fundamental assumptions crucial to patriarchal culture. Historical, contemporary and future developments in telecommunications and in IT are interwoven with the past, present and future of feminism, women and sexual difference, and a wealth of connections, parallels and affinities between machines and women are uncovered as a result. Challenging the belief that man was ever in control of either his own agency, the planet, or his machines, this book argues it is seriously undermined by the new scientific paradigms emergent from theories of chaos, complexity and connectionism, all of which suggest that the old distinctions between man, woman, nature and technology need to be radically reassessed.
{{#arraymap:Sadie Plant|,|x|x}}
01.05.24
{{#arraymap: Cybernetics, Feminism|,|x| }}
[008]
{{#arraymap:Varia|,|x|x}}
Varia will open its doors for the Counter Cloud Gathering
20.12.23
{{#arraymap:Event|,|x|x}}
19.03.24
[009]
{{#arraymap:Nathan Allen Jones|,|x|x}}
Glitch Poetics
{{#arraymap:Book|,|x|x}}
Individual
critical
{{#arraymap:Aesthetics, Artificial Intelligence, Techno-social|,|x|x}}
Glitches are errors where the digital bursts or creeps into our everyday lives as fragmented image, garbled text and aberrant event. Today, when computational technology is integrated ever more closely into bodies and social structures, glitches are considered by artists and companies alike as critical and commercial opportunities, revealing tears in the real-virtual binary. Glitch has also increasingly become a metaphor for understanding the political and ecological shocks the world pushes into the mediasphere each day. In Glitch Poetics Nathan Jones shows how contemporary writers and artists are integrating the glitch as a literary effect, an affective critique and a realist reflection, at a time characterised by breakage, corruption and crisis.
Based on a range of close readings of contemporary literature by writers including Linda Stupart, Sam Riviere, Keston Sutherland, Ben Lerner, Caroline Bergvall, Erica Scourti, David Peace and the internet novelists, and drawing on theories of error, shock, glitch, critical posthumanism and code, Jones lays the groundwork for writing that can productively engage in the new situation for literature in the context of AI, the Anthropocene and the post-digital age. His book articulates the working of error in literary and media practice at the horizon of human and machine language.
âGlitch Poetics resists technofuturism, reinventing errancy as a necessary aesthetic value of (and crucially against) our time.â
15.07.24
{{#arraymap: Aesthetics, Artificial Intelligence, Techno-social|,|x| }}
[010]
{{#arraymap:Amal Khalaf, Arthur Steiner, Klaas Kuitenbrouwer, Leonardo Dellanoce, Mi You, Nanjala Nyabola, Renée Roukens|,|x|x}}
Vertical Atlas
{{#arraymap:Book|,|x|x}}
Collaboration
social
{{#arraymap:Climate, Techno-social|,|x|x}}
How to navigate the rapidly changing digital geopolitics of the world today? How do we make sense of digital transformation and its many social, political, cultural, and environmental implications at different locations around the world?
Vertical Atlas brings together the insights of a diverse group of internationally renowned artists, scientists and technologists from different backgrounds and places. From an investigation into the lithium mines in the Democratic Republic of Congo to maps of the fiber-optic submarine cables in the Atlantic and the ride-hailing platforms of China.
Vertical Atlas is not a classic atlas that depicts the world in a uniform manner and it is not a simple collection of traditional maps. This book is a tool that enables comparisons, connections and contradictions between different and diverse visions, realities and worlds â through newly commissioned diagrams, interviews, essays and works of art by leading experts from around the world.
{{#arraymap:Vertical Atlas Book Launch|,|x|x}}
30.04.24
{{#arraymap: Climate, Techno-social|,|x| }}
[011]
{{#arraymap:Sianne Ngai|,|x|x}}
Our aesthetic categories: Zany, Cute, Interesting
{{#arraymap:Essay|,|x|x}}
Individual
philosophy
{{#arraymap:Aesthetics|,|x|x}}
The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.
Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute's involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities.
Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.24.04.24
{{#arraymap: Aesthetics|,|x| }}
[012]
{{#arraymap:Giorgi Gago Gagoshidze, Hito Steyerl, MiloĆĄ TrakiloviÄ|,|x|x}}
Mission Accomplished: Belanciege
{{#arraymap:Installation|,|x|x}}
Collaboration
politics
{{#arraymap:Critique, Fashion|,|x|x}}
TrafĂł Gallery, photo by DĂĄvid BirĂł
Hito Steyerl "Mission Accomplished: BELANCIEGE" is part of the exhibition "⊠of bread, wine, cars, security and peace". The point of departure for the three-channel video installation is the fall of the Berlin Wall in 1989 and how this historical event paved the way for commodification and privatization. The artists turn to the field of fashion, using the luxury brand Balenciaga as an example to reflect on political and cultural changes in the period of the last thirty years. The video installation MISSION ACCOMPLISHED: BELANCIEGE presented at TrafĂł Gallery reveals similar âinvasionsâ of history and emphasizes their cyclical nature by turning towards the processes of economic and political realignment that followed the fall of the Berlin Wall, and by featuring examples that target our hyper-contemporary world armed with trend analysis, data mining, political advertising and audience targeting.
The video installation is co-created by Giorgi Gago Gagoshidze, Hito Steyerl and MiloĆĄ TrakiloviÄ and is based on their lecture in 2019 at n.b.k. - Neuer Berliner Kunstverein. Almost 30 years to the day after the fall of the Berlin Wall, the lecture reflects on post-1989 transformations and political rearrangements in the former Soviet territories, sheds light on the interconnections between culture and populism, and examines in a broader context the mechanisms of oligarchic-capitalist culture that emerged during the 'privatisation' of the former Eastern bloc.
01.05.24
{{#arraymap: Critique, Fashion|,|x| }}
[013]
{{#arraymap:Varia|,|x|x}}
A Traversal Network of Feminist Servers
{{#arraymap:Project|,|x|x}}
Collective
social
{{#arraymap:Community, Feminism, Techno-social|,|x|x}}
A Traversal Network of Feminist Servers is a collaborative project formed around intersectional, feminist, ecological servers whose communities travel between each other to share and extend their skills through live gatherings. Such platforms and tools are necessary to navigate our communications and cultural growth beyond the current media oligopolies and democratize cultural and political expression outside obscure algorithms and advertising monetization. The project is documented through a mobile server and a print publication, each chapter being shaped by a partner.
01.05.24
{{#arraymap: Community, Feminism, Techno-social|,|x| }}
[014]
{{#arraymap:Silvio Lorusso|,|x|x}}
The User Condition: Computer Agency and Behaviour
{{#arraymap:Essay|,|x|x}}
Individual
critical
{{#arraymap:Agency, Technology|,|x|x}}
The User Condition is a micro-interactive essay on computer agency and behavior, and was developed within the 2020 research group organized by the Lectorate Design of KABK. What are the conditions for a computer user to gain agency, defined here as the ability to evade automatisms? What is the userâs horizon of autonomy within a built world made of software programmed by somebody else, when its logic is made inaccessible in the name of convenience?
{{#arraymap:Design Lectorate KABK, the User Condition Screenrecording|,|x|x}}
01.05.24
{{#arraymap: Agency, Technology|,|x| }}
[015]
{{#arraymap:Holly Herndo, Matt Dryhurst|,|x|x}}
Interdependence FM
{{#arraymap:Podcast|,|x|x}}
Collaboration
speculative
{{#arraymap:Artificial Intelligence, Techno-social, Virtual reality|,|x|x}}
In an age where global events, technologies, and cultures are increasingly intertwined, the Interdependence FM podcast explores the intricate web of connections shaping our world. While the hosts talk to artists and experts in the field of AI (and beyond) and are mainly positive about the 21st century, it becomes clear that understanding the concept of interdependence has never been more crucial.
01.05.24
{{#arraymap: Artificial Intelligence, Techno-social, Virtual reality|,|x| }}
[016]
{{#arraymap:Rhizome|,|x|x}}
ArtBase Anthologies in conversation with Auriea Harvey
03.04.24
{{#arraymap:Event|,|x|x}}
30.04.24
[017]
{{#arraymap:Amanda Sikarskie|,|x|x}}
Digital Research Methods in Fashion and Textile Studies
{{#arraymap:Book|,|x|x}}
Individual
pedagogy
{{#arraymap:Artistic Research, Fashion|,|x|x}}
Digital Research Methods in Fashion and Textile Studies presents the reader with a variety of digital methodologies to help build skills in searching for, analyzing, and discussing vintage design, photography, and writing on fashion, as well as historic and ethnographic dress and textile objects themselves. Each chapter focuses upon a different method, problem, or research site, including:
- Maximalism and mixed-methods approaches to research - Searching large databases effectively - Pattern recognition and visual searching. - Critical reading, use, and citation of social media texts - Digital ethnography and shopping as research - Data visualization and mapping - Images in the public domain
From advanced undergraduates and postgraduate students working on research projects to veteran professionals in fashion and textile history and beyond, everyone can benefit from a diverse set of fresh approaches to conducting and disseminating research. In the current age of instant gratification, with users snapping and posting images from runway shows long before the clothes will ever appear instores, the world of fashion is increasingly digital and fast-paced. Research on fashion is, too. Digital Research Methods in Fashion and Textile Studies will help you keep up in this rapidly changing world.22.04.24
{{#arraymap: Artistic Research, Fashion|,|x| }}
[018]
{{#arraymap:Anja Groten|,|x|x}}
Figuring Things out Together
{{#arraymap:Thesis|,|x|x}}
Individual
critical
{{#arraymap:Agency, Techno-social|,|x|x}}
This dissertation explores matters of collectivity, drawing from the experience of working with the Amsterdam-based collective Hackers & Designers (H&D). The main thesis of this research is that conventional design vocabularies are not capable of sufficiently expressing and accounting for collectivitiesâ resistance to fixation and stabilization. Collective design as it is discussed here challenges notions of individual authorship, differentiations between disciplines, between product and process or between the user and maker. While collectives shape particular affiliations and commitments, design approaches and aesthetics, they also require perspectives on working and designing together that resist linearity, and a progress-based understanding of a design process. By means of several case studies, it is argued that the fragmentation of social and work relations is as much a characteristic of collective practice as the effort to sustain long-term relationships.Thus, collective practice is not fully deliberate, at least not in the same way as for instance âteamworkâ, âthe commonsâ, or âcooperativismâ, are purposeful organizational frameworks for living, working or being together. Collective Collective design processes take part in and are a result of particular (often fragile) socio-economic, socio-technical conditions that pervade and shape the ways collectives function.
âThis publication derives from an enthusiasm for the various ways collective learning environments take shape. It grew out of a curiosity for the ways that such practices are shared across different localities, timelines, and experiences.â
{{#arraymap:Anja Groten, Hackers & Designers|,|x|x}}
05.06.24
{{#arraymap: Agency, Techno-social|,|x| }}
[019]
{{#arraymap:Anabelle Johnston, Lucas Gelfond|,|x|x}}
Syntax Magazine
{{#arraymap:Magazine|,|x|x}}
Collaboration
experimental
{{#arraymap:Authorship, Digital culture, Publishing|,|x|x}}
Syntax is an online magazine using the grammar of the internet. The editors letter of Syntax's first edition reads:
"Digital media promised us new modes of reading. Instead, we got sound bites and âwhich One Direction member should you dateâ quizzes. Scrolling online became an experiment in self-defense: weâre bombarded by paywalls and pop-up ads, lured by A/B tested headlines and microtrend pieces. [...] But no one writes how we read. In chat rooms, comment sections, forums, personal blogs. The video essay, the playlist, Tumblr collageâthese forms are as familiar to us as the novel, film, and album. Their words would never reach the true citizens of the internet.."
And so, Syntax provides a honest reflection of what pre-capitalist internet.âSo we go back to the blog. Repurpose the zine. Weâre sending our reply using the grammar of the internet.â
{{#arraymap:Syntax Instagram|,|x|x}}
01.05.24
{{#arraymap: Authorship, Digital culture, Publishing|,|x| }}
[020]
{{#arraymap:Softer Digital Futures|,|x|x}}
Softer Digital Futures: London Edition
16.03.24
{{#arraymap:Event|,|x|x}}
30.04.24
[021]
{{#arraymap:Co-matter, WeTransfer|,|x|x}}
Networked Worlds
{{#arraymap:Magazine|,|x|x}}
Collaboration
experimental
{{#arraymap:Digital culture|,|x|x}}
âNetworked Worldsâ focuses on worlding as a creative strategy in the early 21st century. As a response to the multiple crises of our time â a crisis of reality, agency and traditional sensemaking structures â worlding is an emergent creative practice of re-imagining and prototyping alternative futures.
Hyper aware of the rules and power structures of dominant narratives and infrastructures, worlding has become a vital strategy for artists and creatives to experiment with alternative futures and render the conditions of the present visible in order to change them. Worlding as such is different from worldbuilding. While the latter has been established by writers, directors, set designers in creating believable imaginary worlds (think Star Wars, Lord of the Rings or the Marvel Universe), worlding signifies the continuous, ever-evolving, collaborative effort of making worlds emerge rather than creating a closed universe by an individual master creator.
Networked Worlds is the third part of Networked Culture, a series of publications that explore the effects of networked technologies on the creative process. The previous two memos of the series are Networked Counterculture (2023) and Networked Reality (2023).âWorldbuilding is a means to resist complacency and categorization; an affirmation that one can draw new borders (or ends) and declare new logics for life.â
{{#arraymap:Networked Reality, Networked Counter Culture|,|x|x}}
02.04.24
{{#arraymap: Digital culture|,|x| }}
[022]
{{#arraymap:Marcell Mars, Tomislav Medak, Valeria Graziano|,|x|x}}
Pirate Care, a syllabus
{{#arraymap:Database|,|x|x}}
Collective
critical
{{#arraymap:Care, Digital culture, Techno-social|,|x|x}}
Pirate Care is a research process - primarily based in the transnational European space - that maps the increasingly present forms of activism at the intersection of âcareâ and âpiracyâ, which in new and interesting ways are trying to intervene in one of the most important challenges of our time, that is, the âcrisis of careâ in all its multiple and interconnected dimensions.
These practices are experimenting with self-organisation, alternative approaches to social reproduction and the commoning of tools, technologies and knowledges. Often they act disobediently in expressed non-compliance with laws, regulations and executive orders that ciriminalise the duty of care by imposing exclusions along the lines of class, gender, race or territory. They are not shying risk of persecution in providing unconditional solidarity to those who are the most exploited, discriminated against and condemned to the status of disposable populations.
The Pirate Care Syllabus presents here for the first time is a tool for supporting and activating collective processes of learning from these practices.âWe live in a world where captains get arrested for saving peopleâs lives on the sea; where a person downloading scientific articles faces 35 years in jail; where people risk charges for bringing contraceptives to those who otherwise couldnât get them. Folks are getting in trouble for giving food to the poor, medicine to the sick, water to the thirsty, shelter to the homeless. And yet our heroines care and disobey. They are pirates.â
01.05.24
{{#arraymap: Care, Digital culture, Techno-social|,|x| }}
[023]
{{#arraymap:Noemi Biasetton|,|x|x}}
SUPERSTORM. Design and Politics in the Age of Information
{{#arraymap:Book|,|x|x}}
Individual
politics
{{#arraymap:Algorithm, New Media, Visual culture|,|x|x}}
SUPERSTORM. Design and Politics in the Age of Information, 2024 - Cover (Credits: Noemi Biasetton)
SUPERSTORM. Design and Politics in the Age of Information, 2024 Backcover (Credits: Noemi Biasetton)
The Superstorm is a conceptual and narrative metaphor to illustrate the evolution of the relationship between political communication and new media technologies, which culminated in the tempestuous Western political visual culture of today. Within this vortex, complex and unexpected events occur, where politics is mixed with entertainment and communication is hyper-mediated through algorithms, memes and alternative realities.
As politicians refine marketing techniques applied to the electorate and online users become political trendsetters, designers face an impasse. But not all is lost in the Superstorm. Surprisingly, it might precisely be this uncertain future that holds the key for designers to question and reformulate their role and purpose within the political sphere.
In her first book Superstorm: Design and Politics in the Age of Information, Noemi Biasetton traces the development of the Superstorm from the 1960s to the present and proposes new coordinates that designers may consider on in order to, eventually, face its relentless evolution.{{#arraymap:Noemi Biasetton|,|x|x}}
22.04.24
{{#arraymap: Algorithm, New Media, Visual culture|,|x| }}
[024]
{{#arraymap:Carmen Winant|,|x|x}}
Our Bodies, Online
{{#arraymap:Essay|,|x|x}}
Individual
social
{{#arraymap:Body, Feminism, Photography|,|x|x}}
What are the qualifications of being a feminist artist today? This is an impossible question, which is, in many ways, the point. One of the defining doctrines of third-wave feminism (or fourth-wave feminism, or postfeminism, or whatever you call our current moment) is its persistent unwillingness to be defined. Whether you make abstract photograms or stag films, label your work feminist, and it is.
âAn emerging guard of young, female photographers has carved out a new brand of feminism
with a new set of definitions.â
{{#arraymap:Aperture Editorial, Carmen Winant|,|x|x}}
01.05.24
{{#arraymap: Body, Feminism, Photography|,|x| }}
[025]
{{#arraymap:School for Poetic Computation|,|x|x}}
HTTPoetics Showcase
13.04.24
{{#arraymap:Event|,|x|x}}
30.04.24
[026]
{{#arraymap:Rosie Findlay|,|x|x}}
âTrust Us, Weâre Youâ: Aspirational Realness in the Digital Communication of Contemporary Fashion and Beauty Brands
{{#arraymap:Article|,|x|x}}
Individual
critical
{{#arraymap:Aesthetics, Fashion, Feminism|,|x|x}}
In recent years, a number of fashion and beauty brands have developed promotional content that circulates an aspirational quality imbued with unstudied âcoolâ around their product. Despite the appeal of this conceit to tropes of the everyday, authenticity, and belonging, it presents a superficially relatable ideal whilst exploiting digital mediaâs capacities to foster intimacy and promote a postfeminist subjectivity based on consumption.
This article examines three brands that circulate âaspirational realnessâ around their product: Glossier, Reformation, and Maryam Nassir Zadeh. All remediate the conventions of prior fashion media to communicate discourses of neoliberal femininity to a media-savvy consumer. Aspirational realness is thus read as a means by which consumption is both encouraged and situated as a means of self-realization in the likeness of other aspirational âcool girls.â
{{#arraymap:Rosie Findlay|,|x|x}}
01.05.24
{{#arraymap: Aesthetics, Fashion, Feminism|,|x| }}
[027]
{{#arraymap:Femke de Vries, Laura Gardner|,|x|x}}
Fashion Paratext Dataset
{{#arraymap:Website|,|x|x}}
Collaboration
critical
{{#arraymap:Fashion, Language, New Media|,|x|x}}
The FASHION PARATEXT DATASET focuses on the collection and analysis of fashion captions within contemporary fashion media. Although often overseen and rendered subordinate, these paratextual snippets of text-such as titles, introductions and captions-work as strategic value producers within fashion media and shape our fashion narratives and vocabulary. Accordingly, these textual elements play an important role in our relation to fashion and clothes as readers, wearers, makers and consumers. Through its dominance and vast networks, industrial market-based fashion language is becoming our fashion mother tongue. And as professor of applied linguistics Robert B. Kaplan writes, our first language, or mother tongue has a powerful influence on the way we shape our thoughts and organise our ideas.
Using data science methods, this project collaboratively produces a large-scale dataset of fashion captions that can be mapped and analysed using Natural Language Processing. The dataset takes the captions out of the saturated pages of fashion media (both print and online), offering the opportunity to read them attentively, isolated from their original context. As such, it can open up space to think about an alternative vocabulary.
âThis website explores the unique poetic character of fashion captions, and text in general of its media systems.â
{{#arraymap:Femke de Vries, Laura Gardner|,|x|x}}
23.04.24
{{#arraymap: Fashion, Language, New Media|,|x| }}
[028]
{{#arraymap:Charlotte Rohde, Vera van de Seyp|,|x|x}}
A Guide To Softer Ware
{{#arraymap:Exhibit|,|x|x}}
Collaboration
experimental
{{#arraymap:Gender, Materiality, Weaving|,|x|x}}
A Guide To Softer Ware is a collaborative exploration of contemporary and not-so-contemporary languages of instruction in the context of âwomanhoodâ, calling out their binary notions of gender designation as a social construct. Through analysing their own behavior as socialised women, and simultaneously analysing guides by women addressing other women about how to be a woman, Charlotte Rohde and Vera van de Seyp expose the idea of the manual as a (self-)imposed directive, trapped between the imperative to be unconditionally affirmed and the need to be in charge of oneâs own narrative.
The format of the manual is used here as a rhetorical construct that explores how the social roles of women have been impacted by the rise of new technologies from the second half of the 20th century until now. With their shared background ranging from (type-)design to creative coding, Charlotte Rohde and Vera van de Seyp (quite literally) deconstruct and reprogramme these languages of instruction: From the wording used in 1960s technical manuals for sewing machines, knitting machines and various domestic appliances addressing women as a new target group to Memes and YouTube tutorials as a phenomenon representing the contemporary internet culture of self-optimization.
With their Guide To Softer Ware the two artists reflect on the supposed need for guidance and the forms this guidance has historically taken and still takes. The exhibition at soft power presents new works by the two artists that may function as a manual for the spectators and simultaneously as type specimens. The use of tools and typography, soap and metal, software and code (and ultimately, the use of the body itself), invites us to question the âsoftnessâ historically/conventionally/subconsciously assigned to certain materials and spaces, to gender and its construction.23.04.24
{{#arraymap: Gender, Materiality, Weaving|,|x| }}
[029]
{{#arraymap:Joanna Walsh|,|x|x}}
Girl Online: A User Manual
{{#arraymap:Book|,|x|x}}
Individual
social
{{#arraymap:Agency, Digital culture, Feminism|,|x|x}}
What happens when a woman goes online? She becomes a girl.
The unwritten contract of the internet, that a user is what is used, extends from the well-examined issue of data privacy and consent to the very selves women are encouraged to create in order to appear. Invited to self-construct as 'girls online', vloggers, bloggers and influencers sign a devil's bargain: a platform on the condition they commodify themselves, eternally youthful, cute and responsibility-free, hiding offline domestic, professional and emotional labour while paying for their online presence with âaccountsâ of personal âexperienceâ. Can a Girl Online use these platforms not only to escape meatspace oppressions, but as spaces for survival, creativity and resistance?
Told via the arresting personal narrative of one woman negotiating the (cyber)space between her identities as girl, mother, writer, and commodified online persona, Girl Online is written in a plethora of the online styles, from programming language to the blog/diary, from tweets to lyric prose, taking in selfies, social media, celebrity and Cyberfeminism.{{#arraymap:Joanna Walsh|,|x|x}}
23.04.24
{{#arraymap: Agency, Digital culture, Feminism|,|x| }}
[030]
{{#arraymap:Anastasiia Fedorova, Modem Works|,|x|x}}
Our Digital Selves
{{#arraymap:Research|,|x|x}}
Collaboration
speculative
{{#arraymap:Fashion, Techno-social, Virtual reality|,|x|x}}
âEcstatic Wholenessâ by The Fabricant
âEcstatic Wholenessâ by The Fabricant
"With the emergence of the Metaverse, we can reinvent ourselves in ways in which weâve always dreamt. Modem teamed up with The Fabricant, SHOWstudio and Anastasiia Fedorova to imagine how our virtual alter-egos could change the ways we think about ourselves. Expanding on the work of The Fabricant, which explores the malleable future of human identity through non-physical garments, Our Digital Selves studies the ambiguous relationship between the real and the virtual self"
âWhen musing on fashion and identity, itâs always worth asking: when does wearing something truly change the meaning of who we are?â
01.05.24
{{#arraymap: Fashion, Techno-social, Virtual reality|,|x| }}
[031]
{{#arraymap:Nancy Wu|,|x|x}}
A Website is a Room
{{#arraymap:Website|,|x|x}}
Individual
autonomous
{{#arraymap:Techno-social|,|x|x}}
A-website-is-a-room.net is a little handmade web space that features a live feed of urls of a similar sentiment, anonymously contributed by fellow internet travelers. This site is the distillation of extensive research, conversations, and experiments around alternative web practices, decentralized networks, and online gathering.
The goal was to make something communal, romantic, introspective, raw, and beautiful. I also really wanted to dive deep into the research, and in that process, discovered a whole world of like-minded people, learned about new and old tools, and drew unexpected connections between different artists, designers, and their works.
{{#arraymap:Nancy Wu|,|x|x}}
23.04.24
{{#arraymap: Techno-social|,|x| }}
[032]
{{#arraymap:Legacy Russell|,|x|x}}
Glitch Feminism: A Manifesto
{{#arraymap:Book|,|x|x}}
Individual
critical
{{#arraymap:Digital culture, Feminism, Gender|,|x|x}}
A new manifesto in cyberfeminism: finding liberation in the glitch between body, gender and technology.
The divide between the digital and the real world no longer exists: we are connected all the time. How do we find out who we are within this digital era? Where do we create the space to explore our identity? How can we come together and create solidarity?
The glitch is often dismissed as an error, a faulty overlaying, but, as Legacy Russell shows, liberation can be found within the fissures between gender, technology and the body that it creates. The glitch offers the opportunity for us to perform and transform ourselves in an infinite variety of identities. In Glitch Feminism, Russell makes a series of radical demands through memoir, art and critical theory, and the work of contemporary artists who have travelled through the glitch in their work. Glitch Feminism shows how the error can be a revolution.âWithin glitch feminism, glitch is celebrated as a vehicle of refusal, a strategy of nonperformance.â
{{#arraymap:Legacy Russell|,|x|x}}
20.11.24
{{#arraymap: Digital culture, Feminism, Gender|,|x| }}
[033]
{{#arraymap:Soyun Park|,|x|x}}
A Collective Booklet for Computational Woman
{{#arraymap:Project|,|x|x}}
Individual
social
{{#arraymap:Weaving|,|x|x}}
A Collective Booklet for Computational Women is an open document project on google sheets to share stories of women with their machines. Any woman can create their own sheet to share their photos and the stories they hold about their computers. It is created to protest against the stereotype and to empower our passion towards technology.
âGrowing up, I was always curious about computers and technology, and I've often heard people say things like 'it's weird that you're good with computers as a girl'.â
{{#arraymap:Soyun Park|,|x|x}}
30.04.24
{{#arraymap: Weaving|,|x| }}
[034]
{{#arraymap:Sadie Plant|,|x|x}}
Seduced & Abandoned: The Body in the Virtual World - The Feminine Cyberspace
{{#arraymap:Video|,|x|x}}
Individual
critical
{{#arraymap:Feminism, Post-human, Techno-social|,|x|x}}
Sadie Plant argues that cyberspace is a potentially radical space which uses modes of thinking and operating that have traditionally been seen as female. She also considers the relationship between cyberspace and immaterial space and speculates on what this could mean for the future. Christine Tamblyn and Pat Cadigan contribute to the discussion/Q&A, which makes for a lively discourse on the females positioning in technoculture.
{{#arraymap:Part of Virtual Futures|,|x|x}}
30.04.24
{{#arraymap: Feminism, Post-human, Techno-social|,|x| }}
[035]
{{#arraymap:Beata Wilczek|,|x|x}}
Fashion Knowledge Podcast
{{#arraymap:Podcast|,|x|x}}
Individual
pedagogy
{{#arraymap:Fashion, Technology|,|x|x}}
Fashion Knowledge is a podcast about inclusive, sustainable, and digital fashion futures. Beata Wilczek, founder and director at Unfolding Strategies, a fashion consultancy and edu lab for fashion in Web3, hosts new and brave voices in fashion innovation, design, research, and education, to learn more about digital fashion and sustainability.
{{#arraymap:Listen via Spotify|,|x|x}}
23.04.24
{{#arraymap: Fashion, Technology|,|x| }}
[036]
{{#arraymap:Alex Quicho|,|x|x}}
GIRLSTACK
{{#arraymap:Research|,|x|x}}
Individual
speculative
{{#arraymap:Feminism, Identity, Techno-social|,|x|x}}
image by siir bicer
Building on the ideas of Tiqqunâs 1999 anti-neoliberal treatise Preliminary Materials for a Theory of the Young-Girl, Andrea Long Chuâs Females and Bogna Koniorâs work on the girl and the inhuman vis-a-vis the machinic, Quicho has developed a concept she calls the âGirlstack,â which, to borrow her words, models the âultrasmooth, cybergothic, and angelic dimensions of the girlâs natural habitat.â Quicho articulates how the âgirlâ inhabits no one person, body, or gender. She is a technology of subjectivity composed of symbolic, consumer, and inhuman elements and might be our only way out of the platform trap. Quicho's reformulation of 'the stack' was first published as an essay on Wired and expanded at BODYSTACK and Creamcake 3HD.
Quichoâs girl-stack is a speculative prototype models themany dimensions of the girlâs natural online habitat. To be clear: Quicho does not speak of actual girls or the experience of lived girlhood, but a socially constructed ideation of the girl. So, the girl as a vehicle for selling product, the girl as a tool for manipulating entrenched power, the girl as living currency, and the girl as desiring machine. The model is imperative for understanding the environment that produces the âgirl as conditionâ.
30.04.24
{{#arraymap: Feminism, Identity, Techno-social|,|x| }}
[037]
{{#arraymap:Charlie Robin Jones, Wassim Z. Alsindi|,|x|x}}
Notes on Phygitality
{{#arraymap:Interview|,|x|x}}
Collaboration
speculative
{{#arraymap:Fashion, Phygital, Techno-social|,|x|x}}
Published in Issue#6 of NXS Magazine âPhygital Fashioningâ, âNotes on Phygitalityâ documents an asynchronous dialogue held in the spring of 2022.
The conversation delves into the concept of "phygitality," blending physical and digital realms. They explore its implications, noting, "Itâs about how you can interface between the physical and the digital." Discussions encompass the fusion's impact on human interaction voicing that we have more freedom to express ourselves. Ethical dimensions are scrutinized: "We need to be careful about what that [digital footprint] means." The dialogue reflects on art, privacy concerns, and the intricate interplay shaping future socio-technological landscapes.
01.05.24
{{#arraymap: Fashion, Phygital, Techno-social|,|x| }}
[038]
{{#arraymap:Institute for Postnatural Studies|,|x|x}}
Cyberwitches and Feminist Technologies seminars
17.09.24
{{#arraymap:Event|,|x|x}}
03.07.24
[039]
{{#arraymap:Nabi Williams|,|x|x}}
The SSENSE of Authenticity
{{#arraymap:Thesis|,|x|x}}
Individual
critical
{{#arraymap:Authorship, Digital culture|,|x|x}}
In "the ssense of authenticity" writer Nabi Williams explores the concept of authenticity in the digital age, particularly through analyzing the canadian fashion e-tailer ssense and its popular Instagram account. posting daily on the social media platform, ssense draws from contemporary culture through its use of language, image layout, and cultural references to create promotional content that exists on the thin line between âauthentic memeâ and marketing material. by investigating this account and social mediaâs impact on how authenticity is manufactured, communicated, and perceived, this thesis traces how the concept of authenticity has evolved and argues that we now live in a âpost-authenticâ world, where storytelling and the âauthentically inauthenticâ reign supreme in place of sincerity and reality.
âThe reality is that âauthenticityâ holds no value. But then again, who wants to engage in reality?â
{{#arraymap:Nabi Williams|,|x|x}}
04.09.24
{{#arraymap: Authorship, Digital culture|,|x| }}
[040]
{{#arraymap:Orit Gat|,|x|x}}
Scroll, Skim, Stare
{{#arraymap:Essay|,|x|x}}
Individual
critical
{{#arraymap:Authorship, Critique|,|x|x}}
This essay critiques the static nature of artists' websites, proposing that they could be more dynamic and innovative. Gat argues for these sites to function as online exhibition spaces, offering unique and creative ways to present and control art, enhancing the digital art experience.
Orit Gatâs essay âScroll, Skim, Stareâ in *The White Review* explores the evolving role of artists' websites in the contemporary digital landscape. Gat argues that while the internet has transformed art consumption, the design of artists' websites often remains static and uninspired. She suggests that these sites could be more dynamic, serving as online exhibition spaces that challenge the traditional gallery format. Gat emphasizes the potential for artists to leverage their websites to present and control their work uniquely and creatively, thus reshaping the visual culture of the internet.
{{#arraymap:Orit Gat|,|x|x}}
19.08.25
{{#arraymap: Authorship, Critique|,|x| }}
[041]
{{#arraymap:Ester Freider|,|x|x}}
I'm Like a PDF but a Girl
{{#arraymap:Thesis|,|x|x}}
Individual
pedagogy
{{#arraymap:Digital culture, Feminism, Techno-social|,|x|x}}
A literary and ethnographic analysis of the Tumblr platform, supplemented by personal experiences, to explore the site's potency as a pedagogical tool. Ester Freider explains.. "I'm Like a Pdf but a Girl originates from my usage of tumblr as a social learning platform during high school, when AFK I had little educational resources surrounding feminist studies, philosophy, and potential leftisms in my high school and so, turned to a network of peers online to educate myself."
âEmbrace subjectivity. Nomadologize. Unclog digital neuroses. Reconnect with the ancients. Atomize. Overflow with information. Make love piratic. Plagiarize with the girls. Weave webs of excess. Become a girlblogger.â
{{#arraymap:Ester Freider, Freider's Are.na|,|x|x}}
03.07.24
{{#arraymap: Digital culture, Feminism, Techno-social|,|x| }}
[042]
{{#arraymap:Natalia SÀrmÀkari|,|x|x}}
From a Tool to a Culture : Authorship and Professionalism of Fashion 4.0 Designers in Contemporary Digital Environments
{{#arraymap:Thesis|,|x|x}}
Individual
{{#arraymap:Authorship, Fashion, Techno-social|,|x|x}}
This thesis looks at how fashion design is affected by new technology. It contributes to fashion studies and design research. It uses ideas from authorship theory, sociology of professions and posthumanism. The research looks at four fashion design practices where creation takes place in virtual spaces and is shared with non-professionals, networks or machines. The case studies are The Fabricant, Atacac, Self-Assembly and Minuju.
{{#arraymap:Natalia SÀrmÀkari|,|x|x}}
04.07.24
{{#arraymap: Authorship, Fashion, Techno-social|,|x| }}
[043]
{{#arraymap:Mia MelvĂŠr|,|x|x}}
A Reparative Approach to Publishing
{{#arraymap:Essay|,|x|x}}
Collaboration
{{#arraymap:Publishing|,|x|x}}
The article "A Reparative Approach to Publishing" discusses Constant, a collective focusing on open-source, community-driven publications. Their projects include various forms of "executable texts" like manuals and codes, emphasizing collaborative creation and iterative processes. Platforms like Books With An Attitude and Constant Verlag host these works under open licenses. The piece highlights the importance of trust, collective authorship, and dynamic, editable content, advocating for a publishing practice that embraces change, diversity, and community involvement over individual genius and static texts.
It is part of MARCH's long term inquiry, "Publishing As Protocol", which aims to explore the relationship between self-organizational models and technological sovereignty. It gathers existing and speculative examples from both institutional (cultural) and technological (hacktivist) practices to reflect on how we publish, gather and organize under (and around) platform capitalism.
âA reparative, intersectional, and feminist approach to publishing means a networked approach, set up for working best when it is cared for by one or many communities.â
08.07.24
{{#arraymap: Publishing|,|x| }}
[044]
{{#arraymap:Ida Falck Ăien|,|x|x}}
Transactional Aesthetics
{{#arraymap:Thesis|,|x|x}}
Individual
pedagogy
{{#arraymap:Aesthetics, Fashion|,|x|x}}
da Falck Ăien explores the emotional relationships humans have with their garments and how acquisition methods influence these relationships. The research, conducted from 2017 to 2021, involves ethnographic studies, collaboration with a fashion label, public engagement through a physical space, and the creation of publications and products. Ăien aims to address the environmental impact of the fashion industry by rethinking resource use and consumer behavior, emphasizing fashion as a cultural and social phenomenon beyond mere clothing items.
{{#arraymap:Ida Falck Ăien|,|x|x}}
04.09.24
{{#arraymap: Aesthetics, Fashion|,|x| }}
[045]
{{#arraymap:Das Leben am Haverkamp|,|x|x}}
OPEN CALL â Screening: Luxury
18.08.24
{{#arraymap:Open Call|,|x|x}}
09.07.24
[046]
{{#arraymap:Critical Infrastructures and Image Politics|,|x|x}}
Angels, Bots, Cute AIs and Animism: A Conversation on AI Imaginaries
10.07.24
{{#arraymap:Event|,|x|x}}
08.07.24
[047]
{{#arraymap:Elizabeth Gabrielle Lee|,|x|x}}
Sublime Heartbreak: Vectors for an Ending of Times
{{#arraymap:Essay|,|x|x}}
Individual
Speculative
{{#arraymap:Aesthetics, Digital culture, Techno-social|,|x|x}}
Image by Elizabeth Gabrielle Lee
Endarkenment pantheon and its vectors: Possibility â· Futility, Introspection â· Reactivity. The intersection of these vectors (aka quadrants) give rise to aesthetic guilds. Image by Elizabeth Gabrielle Lee
This essay explores the concept of "Endarkenment," an aesthetic response to current global crises. Instead of apocalyptic destruction, Endarkenment finds beauty in chaos and decay. It contrasts traditional enlightenment, emphasizing engagement with darkness and complexity. Four aesthetic "guilds"âNovusHex, Netmesh, Candyblade360, and Hyper-ogreâillustrate different aspects of this concept, embracing both technological and primitive elements to find new forms of meaning and enchantment amid widespread despair and systemic failures.
The essay's concept of "Endarkenment" connects to how we experience fashion online by highlighting emerging digital aesthetics and trends that embrace chaos, complexity, and non-traditional beauty. Online fashion communities reflect this through styles like "indiesleaze" and "ratgirlsummer," which celebrate raw, unpolished looks, and "technomysticism" that merges spirituality with cybernetics. Platforms like Instagram curate these trends, showcasing designs that fuse nature with technology or embrace hyper-femininity and grotesque, anti-minimalist aesthetics. These digital movements redefine fashion by rejecting conventional norms and finding beauty in unconventional, dark, and chaotic expressions.
âI propose Endarkenment, an aesthetic posturing thatâs emerging from the abyss of ultimate system failures and chronic mass despair. Iâm not interested in a doomsday, pure-nihilistic dystopian narrative.â
{{#arraymap:Elizabeth Gabrielle Lee|,|x|x}}
16.07.24
{{#arraymap: Aesthetics, Digital culture, Techno-social|,|x| }}
[048]
{{#arraymap:Constant|,|x|x}}
Declarations: Website fabulations
07.09.24
{{#arraymap:Workshop|,|x|x}}
09.07.24
[049]
{{#arraymap:Veronica Obenauer|,|x|x}}
Performing Cyber Tenderness
{{#arraymap:Thesis|,|x|x}}
Individual
social
{{#arraymap:Digital culture, Feminism|,|x|x}}
This text discusses the concept of the "Sad Girl" and its evolution in the digital age. It explores how the internet, particularly platforms like Tumblr, became a space for young women to express their emotions, often through romanticized depictions of sadness and melancholy. The text examines the authenticity and commodification of these emotional performances, as well as the broader societal expectations and pressures placed on women's emotional expression. It also touches on the concept of the "Influencer" and how the pursuit of authenticity has become a tool for capitalist exploitation. The document ultimately suggests that embracing the "Cyborg" and the performative nature of online identity may be a way to resist the commodification of emotion and reclaim digital spaces.
ââAs you gaze at the flickering signifiers scrolling down the computer screens, (âŠ) you have already become posthuman.ââ
{{#arraymap:Veronica Obenauer|,|x|x}}
15.07.24
{{#arraymap: Digital culture, Feminism|,|x| }}
[050]
{{#arraymap:Random Studio|,|x|x}}
Fred Perry x Raf Simons interactive lookbook
{{#arraymap:Campaign|,|x|x}}
Company
commercial
{{#arraymap:Digital culture, Fashion, Virtual reality|,|x|x}}
Fred Perry x Raf Simons AW19 by Random Studios
The Fred Perry x Raf Simons SS19 collaboration is presented within an immersive editorial lookbook, honouring an everyday interface familiar to many. Worn by anonymised individuals, the garments can be viewed in a navigable environment, where modified stills create the setting of a universal suburb. Each garment can be examined up-close, with options to view it in situ or in the shop. Location URLs of found garments, sound snippets or visual frames can be shared on social media. The entire campaign can also be viewed as a series of semi-accidental screenshots.
This is the first instalment in a three-part exploration of 360 storytelling. Part two centres around 80s Youth Archive photographs, while part three, 'A Lookbook of Many Gazes', allows the viewer to see the SS20 collection through the eyes of many.
While lookbook offers an examination of the intersection of fashion and digital culture as it immerses the viewer in a hyper-stylised digital environment, utilising motion sensors and abstract imagery to transform familiar, lived experiences into something eerily distant when played out on screen. This dissonance challenges our perceptions of reality, suggesting that the digital mediation of fashion can distance us from the authenticity of human experience, making the familiar strangely unsettling.
06.08.24
{{#arraymap: Digital culture, Fashion, Virtual reality|,|x| }}
[051]
{{#arraymap:Digital Aesthetics Research Center, Varia|,|x|x}}
Towards A Minor Tech (Peer-reviewed newspaper)
{{#arraymap:Publishing|,|x|x}}
Collaboration
critical
{{#arraymap:Critique, Digital culture, Techno-social|,|x|x}}
Following a process of open exchanges and a three-day research workshop in London, at London South Bank University and Kingâs College, London, this publication brings together researchers who address the problems of technological scale, thinking through the potentials of 'the minor'; or what we are referring to as minor (or minority) tech â small tech that operates at human scale (more peer to peer than server-client) and stutters in its expression and application. As Marloes de Valk puts it in the Damaged Earth Catalog: âSmall technology, smallnet and smolnet are associated with communities using alternative network infrastructures, delinking from the commercial Internet.â As such, the publication sets out to question the universal ideals of technology and its problems of scale, extending it to follow the three main characteristics identified in Deleuze and Guattari's essay (Toward a Minor Literature), namely deterritorialization, political immediacy, and collective value.
âwe're exploring how technological scale sets conditions for relations, feelings, democratic processes, and infrastructures.â
26.08.24
{{#arraymap: Critique, Digital culture, Techno-social|,|x| }}
[052]
{{#arraymap:Helen Hester|,|x|x}}
Xenofeminism
{{#arraymap:Book|,|x|x}}
Academia
speculative
{{#arraymap:Feminism, Gender, Techno-social|,|x|x}}
In an era of accelerating technology and increasing complexity, how should we reimagine the emancipatory potential of feminism? How should gender politics be reconfigured in a world being transformed by automation, globalization and the digital revolution?
These questions are addressed in this bold new book by Helen Hester, a founding member of the âLaboria Cuboniksâ collective that developed the acclaimed manifesto âXenofeminism: A Politics for Alienationâ. Hester develops a three-part definition of xenofeminism grounded in the ideas of technomaterialism, anti-naturalism, and gender abolitionism. She elaborates these ideas in relation to assistive reproductive technologies and interrogates the relationship between reproduction and futurity, while steering clear of a problematic anti-natalism. Finally, she examines what xenofeminist technologies might look like in practice, using the history of one specific device to argue for a future-oriented gender politics that can facilitate alternative models of reproduction.
{{#arraymap:Laboria Cuboniks, Xenofeminism Manifesto|,|x|x}}
26.08.24
{{#arraymap: Feminism, Gender, Techno-social|,|x| }}
[053]
{{#arraymap:Not Just a Collective|,|x|x}}
Making Manifest: Feminist Publishing Practices
31.08.24
{{#arraymap:Event|,|x|x}}
26.08.24
[054]
{{#arraymap:Ruby Justice Thelot, Rue Yi|,|x|x}}
The Balkanization & Babelification of the Internet
{{#arraymap:Essay|,|x|x}}
Collaboration
social
{{#arraymap:Community, Digital culture, Techno-social|,|x|x}}
This essay explores the fragmentation of the internet, likened to the "Balkanization" and "Babelification" of online spaces. As the unified digital world splits into smaller, private communities, distinct languages and cultures emerge, leading to communication breakdowns when different groups interact. This splintering mirrors the biblical Tower of Babel story and poses challenges to shared understanding. The authors argue that deeper human connection, especially through physical touch, is essential to overcoming these divides and fostering genuine communication.
The essay's discussion of the internet's fragmentation can be linked to online fashion cultures, where digital spaces have become increasingly niche and isolated. Just as the internet splinters into distinct communities with their own languages and norms, fashion subcultures onlineâlike streetwear, high fashion, or vintageâdevelop their own unique styles, terminologies, and identities. This fragmentation can both foster strong in-group connections and create barriers to broader communication and understanding between different fashion communities, mirroring the challenges of "Babelification."
âWhen we return to the public squares, it is not uncommon to think: what the hell is anyone saying? Imagine explaining what an 'Aesop Soap Guy' or a 'Sandy Liang Girlie' are to someone who isn't involved in that discourse.â
26.08.24
{{#arraymap: Community, Digital culture, Techno-social|,|x| }}
[055]
{{#arraymap:Rafael FernĂĄndez|,|x|x}}
Welcome to the Swarm
{{#arraymap:Essay|,|x|x}}
Individual
social
{{#arraymap:Digital culture, Techno-social|,|x|x}}
On the internet, we are part of swarms: networks of people, bots, and content, coordinated through algorithmic feedback loops. Swarms spread misinformation, help each other, and represent the public. This is not our grandparents' crowd. Swarms are networks of people and information. They can act together without set rules. This research looks at different swarms, like the response to Hurricane MarĂa, to see how they work together. We also need to look at other online groups to understand swarms better. These groups have rules that make them easier to manage.
The concept of "swarms" can be connected to the online fashion landscape by considering how decentralized, collective behaviors emerge in digital spaces. In fashion, swarms can be seen in how trends develop, spread, and evolve without a centralized authority. Social media platforms, influencer culture, and digital communities act as nodes in a network where fashion trends are collectively shaped, shared, and adopted. These swarms enable rapid shifts in consumer preferences, allowing niche styles to become mainstream almost overnight, reflecting the fluid and adaptive nature of digital fashion ecosystems.
âIn a swarm, the whole emerges from local interactions, with no central control or singular direction. This phenomenon can be seen in digital spaces where collective behaviors and patterns emerge organically, driven by the actions and decisions of individual participants.â
26.08.24
{{#arraymap: Digital culture, Techno-social|,|x| }}
[056]
{{#arraymap:Fotomuseum Winterthur, The Photographersâ Gallery|,|x|x}}
Screen Walks
{{#arraymap:Artistic Praxis|,|x|x}}
Collaboration
experimental
{{#arraymap:New Media, Visual culture|,|x|x}}
Screen Walks < website design by UNSTATED, Leonardo Angelucci >
In Screen Walks, a series of live-streamed explorations of digital spaces, selected artists and researchers investigate artistic strategies taking place online. The project gives an insight into practices using the screen as a medium. Artists, curators and researchers are invited to perform live-streamed explorations of the digital spaces where their core practice takes place. Every Screen Walk is different, as the guest artists of the programme share their screen and walk the viewers through their work, as a desktop performance of sorts. From re-contextualising imagery found on online marketplaces and uncovering data brokersâ invisible circulation of images to analysing in-game photography and the social, political and economic implications of games â Screen Walks examines various approaches, offers a behind-the-scenes look at artists' work and uncovers new, current and forgotten digital spaces.
Screen Walks is a collaborative project by Fotomuseum Winterthur and The Photographers' Gallery, investigating the changing role of the photographic image in its networked and digital forms.
âFostering cultural exchange and institutional collaboration, Screen Walks aims to engage with discourses and practices generated by a wide range of practitioners. All live-streamed events are freely accessible, regularly archived and openly.â
{{#arraymap:Noura Tafeche's Screen Walk, Kristoffer Tjalve's Screen Walk, Chia Amisola's Screen Walk|,|x|x}}
04.09.24
{{#arraymap: New Media, Visual culture|,|x| }}
[057]
{{#arraymap:Hito Steyerl|,|x|x}}
The Wretched of the Screen
{{#arraymap:Book|,|x|x}}
Individual
politics
{{#arraymap:Capitalism, Techno-social, Visual culture|,|x|x}}
In Hito Steyerlâs writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in. The Wretched of the Screen collects a number of Steyerlâs landmark essays from recent years in which she has steadily developed her very own politics of the image.
Twisting the politics of representation around the representation of politics, these essays uncover a rich trove of information in the formal shifts and aberrant distortions of accelerated capitalism, of the art system as a vast mine of labor extraction and passionate commitment, of occupation and internship, of structural and literal violence, enchantment and fun, of hysterical, uncontrollable flight through the wreckage of postcolonial and modernist discourses and their unanticipated openings.
âImages are no longer passive reflections; they are active agents, manipulated and distorted by the flows of capital and power, reshaping reality in their own fractured, pixelated image.â
04.09.24
{{#arraymap: Capitalism, Techno-social, Visual culture|,|x| }}
[058]
{{#arraymap:Barry Threw, Jon Gacnik, Mindy Seu, Stewart Brand|,|x|x}}
Whole Earth Index
{{#arraymap:Archive|,|x|x}}
Collaboration
social
{{#arraymap:Agency|,|x|x}}
Here lies a nearly-complete archive of Whole Earth publications, a series of journals and magazines descended from the Whole Earth Catalog, published by Stewart Brand and the POINT Foundation between 1968 and 2002. They are made available here for scholarship, education, and research purposes. The Whole Earth Catalog was an American counterculture magazine and product catalog published by Stewart Brand several times a year between 1968 and 1972, and occasionally thereafter, until 1998. The magazine featured essays and articles, but was primarily focused on product reviews. The editorial focus was on self-sufficiency, ecology, alternative education, âdo it yourself,â and holism, featuring the slogan âaccess to tools.â
Whole Earth published a number of singular publications throughout its run focused on topical themes, or containing content from aligned organizations. Often these volumes reprinted articles from prior Whole Earth perodical journals, supplemented with new content. And, while the entire archive is insightful and lives up to its âaccess to tools, ideas, and practicesâ byline, side projects like 'The Whole Earth Software Catalog' deserve special attention. Originally proposed by John Brockman as a magazine which âwould do for computing what the original had done for the counterculture: identify and recommend the best tools as they emergedâ, it seems to have been to ahead of its time. The first issue was released in the Fall of 1984. The Whole Earth Software Catalog was a business failure, however, and was only published twice, with only three of the Whole Earth Software Review supplements published. If we were to position this publication in the here and now, it would most likely belong to the niche digital networks that are sprouting from spaces such as are.na and the handmade web.
âSoft Tech is a term weâve used and defended since the late sixties. Soft signifies that something is alive, resilient, adaptive, maybe even lovable.â
04.09.24
{{#arraymap: Agency|,|x| }}
[059]
{{#arraymap:Lauren Fournier|,|x|x}}
Autotheory as Feminist Practice in Art, Writing and Criticism
https://mitpress.mit.edu/9780262544887/autotheory-as-feminist-practice-in-art-writing-and-criticism/
{{#arraymap:Book|,|x|x}}
Individual
critical
{{#arraymap:Authorship, Feminism|,|x|x}}
In the 2010s, the term âautotheoryâ began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory.
Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the selfâdivisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir âIâ; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing.
âAutotheoryâthe commingling of theory and philosophy with autobiographyâas a mode of critical artistic practice indebted to feminist writing and activism.â
{{#arraymap:Lauren Fournier|,|x|x}}
04.09.24
{{#arraymap: Authorship, Feminism|,|x| }}
[060]
{{#arraymap:Olivia Kan-Sperling|,|x|x}}
Fashion is not a Sign: Reading P.R.A.D.A. Theory-Fashion and Luxury Language
{{#arraymap:Essay|,|x|x}}
Individual
critical
{{#arraymap:Fashion, Language, New Media|,|x|x}}
Prada Spring/Summer 2021 campaign by Ferdinando Verderi. Courtesy of the photographer and Prada
Prada Spring/Summer 2021 campaign by Ferdinando Verderi. Courtesy of the photographer and Prada
âIt is obvious enough why a clothing company might align itself with art or theory: to spritz its all-too-worldly wares with the air of intellect.â
{{#arraymap:Olivia Kan-Sperling|,|x|x}}
10.10.24
{{#arraymap: Fashion, Language, New Media|,|x| }}
[061]
{{#arraymap:Lejla Vala Verheus|,|x|x}}
Gossamer Press
{{#arraymap:Glossary|,|x|x}}
Individual
autonomous
{{#arraymap:Crafts, Feminism, Technology|,|x|x}}
Gossamer Press by Lejla Vala Verheus
Gossamer Press, a micro-publishing platform, intertwines female-driven textile crafts with digital realms, adopting annon-linear approach akin to navigating a web. Exploring concepts like 'Warp,' 'Weft,' and 'Gap,' it connects physical and digital realms, uncovering hidden narratives and challenging historical erasure, presenting a dynamic view of interconnected webs.
GP is founded by Lejla Vala Verheus and is part of an ongoing research on open-source methodologies in textile craft and the digital realm, drawing upon her background as a critical fashion practitioner and graphic designer. By rediscovering overlooked codes and relationships, questioning traditional publishing methods, and blending fashion with printed media, Lejla aims to create new narratives in the fashion realm.
{{#arraymap:Lejla Vala|,|x|x}}
05.09.24
{{#arraymap: Crafts, Feminism, Technology|,|x| }}
[062]
{{#arraymap:Creative Coding Utrecht, Vera van de Seyp|,|x|x}}
ITERATIONS: Creative Coding Symposium
06.12.24
{{#arraymap:Event|,|x|x}}
16.10.24
[063]
{{#arraymap:Chia Amisola, Meg Miller|,|x|x}}
Embodying the browser
{{#arraymap:Interview|,|x|x}}
Collaboration
experimental
{{#arraymap:Aesthetics, Digital culture, Visual culture|,|x|x}}
Chia Amisola, Himala, 2024, hypertext website. Courtesy of the artist.
An interview between Meg Miller and Chia Amisola on the development of her practice; from creating browser based environments to translating them into physical performances of the 'ambient internet'. Chia and Meg delve into the concept of embodying the browser as a personal and performative space, transforming websites into lived, immersive experiences. They explore how reading becomes a creative act, akin to authorship, and examines how writing can exist fluidly within data structures, blending code and narrative. With themes of ritual, religion, and repetition, Amisola sees the internet as a potent tool for activism and cultural expression, wielding it as a platform to advance the Filipino struggle and amplify underrepresented voices in the digital age.
Iâm interested in reconfiguring our attention to the web: What is visible, invisible, foregrounded? How does poetry emerge from the landscape of the browser?
In this conversation, Amisola explores the agency inherent in 'embodying' technology, where her poetic, chaotic and calming performances reveal how online spaces can become canvases for self-creation, transformation and sharing. Her work in Internet art performance highlights the potential of digital spaces as extensions of (cultural) identity.
Amisola's approach to digital embodiment can critically inform how we view fashion as a social system in online spaces. By 'authoring' identity - through online fashion, words or images - the digital self can become both publisher and platform, forever shifting, growing, shrinking as an evolving interface.
âIf Ursula K. Le Guin described technology as the âactive human interface with the material world,â I also attempt to become a technology myself.â
29.10.24
{{#arraymap: Aesthetics, Digital culture, Visual culture|,|x| }}
[064]
{{#arraymap:Ursula K. Le Guin|,|x|x}}
A Rant About âTechnologyâ
{{#arraymap:Essay|,|x|x}}
Individual
critical
{{#arraymap:Technology|,|x|x}}
In A Rant About Technology, Ursula K. Le Guin explores society's near-obsession with technology, suggesting that we often glorify new gadgets and tools at the expense of deeper human values such as creativity, compassion and wisdom. She argues that while technology can be helpful, we should question its role and avoid making it a substitute for meaningful, humane experiences. Le Guin advocates a balanced perspective, encouraging us to value technology without allowing it to define or control us.
ââTechnologyâ and âhi techâ are not synonymous, and a technology that isn't âhi,â isnât necessarily 'âlowâ in any meaningful sense.â
29.10.24
{{#arraymap: Technology|,|x| }}
[065]
{{#arraymap:Ursula K. Le Guin|,|x|x}}
The Carrier Bag Theory of Fiction
{{#arraymap:Book|,|x|x}}
Individual
critical
{{#arraymap:Authorship|,|x|x}}
The Carrier Bag Theory of Fiction, proposed by Ursula K. Le Guin, suggests that storytelling is akin to a "carrier bag"âa container for diverse narratives rather than a linear progression of events. This theory emphasizes inclusivity and multiplicity in storytelling, advocating for narratives that encompass various voices and experiences rather than focusing solely on traditional heroic plots. By framing fiction as a space for collecting and sharing rather than imposing structure, Le Guin encourages a more holistic understanding of literature's role in shaping human experience.
While acclaimed for its radical rethinking of narrative structures, challenging traditional linear storytelling and instead presenting fiction as a collection of diverse, interconnected experiences, Le Guin's perspective is primarily driven by the importance of inclusivity and multiplicity of voices. It considers how narratives can be used to facilitate understanding of complex human experiences, rather than merely serving as vehicles for plot-driven heroics. It takes special note on the act of 'gathering' and is therefore often referred to by collectives and practitioners that focus on gathering tools, people, experiences and non-conformist ways of doing. By advocating this more holistic, and more inclusive approach to storytelling, Le Guin critiques dominant cultural narratives and opens up space for alternative forms of expression.
âA story is like a carrier bag; it holds the experience of many people, not just one.â
{{#arraymap:Ursula K. Le Guin|,|x|x}}
29.10.24
{{#arraymap: Authorship|,|x| }}
[066]
{{#arraymap:Olivia Linnea Rogers|,|x|x}}
Moodbored
{{#arraymap:Essay|,|x|x}}
Individual
critical
{{#arraymap:Aesthetics, Agency, Digital culture|,|x|x}}
Olivia Linnea Rogers explores the rise of digital mood boarding as a modern form of identity exploration and creative expression. Originally physical collages, mood boards have evolved online, becoming aspirational but intangible collections of lifestyle aesthetics. It reflects on how images once rare and precious are now curated endlessly on platforms like Pinterest, shaping identity through associations with unattainable ideals. Rogers suggests mood boarding reflects consumerism, escapism, and a desire for curated self-expression, raising questions about authenticity in digital self-construction.
âThere is no place for self-actualisation like the Internet. To put on and take off identities, personalities, interests, and styles with no cost at all and by simply lifting a pointer finger. This has generally been considered an advantage of the Internet. Iâd argue it is not. It feeds an instinct that has been trained in us from marketing executives. You can create a âselfâ and a âspaceâ for that self, with none of it being real at all.â
{{#arraymap:Olivia Linnea Rogers, Syllabus: the Digital Bedroom|,|x|x}}
30.10.24
{{#arraymap: Aesthetics, Agency, Digital culture|,|x| }}
[067]
{{#arraymap:Taylore Scarabelli|,|x|x}}
The Side Hustle in Your Closet
{{#arraymap:Essay|,|x|x}}
Individual
critical
{{#arraymap:Capitalism, Fashion|,|x|x}}
Scarabelli explores the rise of 'virtual shopping' on resale platforms such as eBay, Poshmark and Grailed, which allow users to engage in 'digital window shopping'. The ability to save items to wish lists and shopping carts allows us to create a curated collection of items we may never buy, transforming consumption into an imaginative, almost aspirational experience. The essay highlights the ways in which resale platforms mimic social media, encouraging not only purchases but also the creation of online identities through saved designer goods and mood boards - ultimately embedding subliminal modes of consumption into digital habits, while blurring the lines between physical and virtual consumption.
âIn the world of recommerce, virtual shopping is the new consumerism that everyone can afford. [..] Virtual shopping exists within a liminoid space, what cultural theorist Rob Shields defines as a meeting point of the imaginary and the material.â
30.10.24
{{#arraymap: Capitalism, Fashion|,|x| }}
[068]
{{#arraymap:Maks ValenÄiÄ, Tisa Troha|,|x|x}}
Ć UM#22 Angel Mode
{{#arraymap:Journal|,|x|x}}
Collaboration
philosophy
{{#arraymap:Agency, Post-human, Techno-social|,|x|x}}
Ć UM22: ANGEL MODE đȘœ Design by Jaka NeonđȘœEdited by Maks ValenÄiÄ and Tisa Troha
Ć UM22: ANGEL MODE đȘœ Design by Jaka NeonđȘœEdited by Maks ValenÄiÄ and Tisa Troha
The journal Ć UM#22 â Angel Mode explores themes in contemporary art, theory, and speculative fiction. Key articles include topics such as online identities, accelerationist philosophy, the concept of "angelic sexuality," and reinterpretations of faith and love in the digital age. Contributors like Bogna Konior and Haela Ravenna Hunt-Hendrix discuss theoretical frameworks connecting cyberculture and philosophy. The issue is edited by Maks ValenÄiÄ and Tisa Troha.
The Angel Mode Issue explores the intersection of online aesthetics and identities, focusing on the "angel" as a symbol for transcendent, hyper-feminine personas. This ties into ongoing online discourse of femininity, vulnerability, and performance, often communicated through ethereal-esque aesthetics, cyberpunk references, and soft romanticism style write-ups. The "angel" metaphor also critiques our roles in cybernetic systems, where humans act as conduits for larger external forces. Embracing this mode reflects a shift from individuality toward alignment with overarching digital and 'transcendental' patterns.
âAs human agency erodes, faced with singularity and extinction, the figure of âthe girl (on the internet)â is on the rise. In the new issue of Ć um we explore how this surrender of agency mediates (human) history itself.â
15.11.24
{{#arraymap: Agency, Post-human, Techno-social|,|x| }}
[069]
{{#arraymap:London College of Fashion|,|x|x}}
BUFFER: on fashion, world building and our bodies
{{#arraymap:Video|,|x|x}}
Academia
pedagogy
{{#arraymap:Digital culture, Fashion, Simulation|,|x|x}}
A playlist of talks given during the BUFFER summit organised by MA Fashion Media & Communication at the London College of Fashion (UAL).
In his opening remarks, Dr. Daniel Felstead highlights the growing influence of fashion and gaming in today's cultural landscape, particularly in the context of societal shifts and the decline of traditional art forms. Both industries excel in world-building, blending economic, social, and aesthetic elements into immersive narratives. The convergence of gaming's interactive environments and fashion's diverse media outputs reflects and momentarily escapes today's chaotic realities. Fashion is increasingly being viewed as a form of "world-building technology," as evidenced by collaborations such as Balenciaga's forays into gaming. This cultural shift and growing relationship between these sectors raises questions about how such immersive worlds influence our identities, bodies and societal roles in this period of transformation.
âIf World building has become a central mode of cultural production today, then what kind of subjectivities and bodies will it demand?â
15.11.24
{{#arraymap: Digital culture, Fashion, Simulation|,|x| }}
[070]
{{#arraymap:Haley Wollens|,|x|x}}
Myth Magazine
{{#arraymap:Magazine|,|x|x}}
Collaboration
commercial
{{#arraymap:Fashion|,|x|x}}
Myth Magazine is a shapeshifting online publication, that will not be found on the news stands.
MythMagazine is a digital-first editorial journal, created with digital affordances at its core, rather than as a print adaptation. The magazine takes a screen-first approach to its fashion editorials, incorporating a variety of visual elements such as still, moving, looping, glitching and collaged imagery, as well as sound. This approach differs from the post-human aesthetics commonly seen in digital-first fashion practices.. ,
âBeing online means the possibilities are endless. It makes the edit different too, because a page count is irrelevant, but thereâs still a permanence and a relevanceâ
15.11.24
{{#arraymap: Fashion|,|x| }}
[071]
{{#arraymap:Ama Ogwo|,|x|x}}
Memestrilism
{{#arraymap:Video|,|x|x}}
Individual
critical
{{#arraymap:Diaspora, Digital culture, Feminism|,|x|x}}
Memestrilism is a term made up of "meme" and "minstrelsy" used to describe minstrel-like behaviours, trends and creations in digital spaces. Produced by artist Ama Ogwo as part of the first Feminist Internet Residency, the film critically examines how racism persists in the digital age, paralleling contemporary online representations of blackness with historical racist imagery. Using found footage from social media and 20th-century minstrel shows, Ogwo collapses time to reveal how the ventriloquism of blackness online mirrors and reinvents what minstrelsy looks like today.
The concept of Memestrilism offers a critical lens on the current online zeitgeist, particularly in fashion, by highlighting how cultural appropriation and racial stereotyping continue to manifest in digital spaces. In fashion, the commodification of black culture often intersects with the 'meme economy' of social media, where trends are amplified, decontextualised and stripped of their origins for mass consumption.
The digital landscape thrives on 'hypervisibility', where cultural markers are presented as bold statements, but often lack the necessary cultural nuance. Often Black cultural expressions - hairstyles, clothing styles, linguistic expressions and aesthetics - are showcased through influencers or memes that gain widespread appeal, often without reference to their roots. This parallels historical minstrelsy, where black identity was caricatured and exploited for entertainment. The digital age exacerbates this by enabling the rapid dissemination and monetisation of these trends, further blurring the line between homage and exploitation.
Ogwo's exploration of memestrilism not only critiques, but also reflects the larger conversations taking place in digital fashion spaces about authenticity, representation and the ethics of appropriation in a globalised, meme-driven culture.{{#arraymap:Ama Ogwo, A Conversation on Memestrilism: The Digitisation of Minstrelsy|,|x|x}}
20.11.24
{{#arraymap: Diaspora, Digital culture, Feminism|,|x| }}
[072]
{{#arraymap:Orit Gat|,|x|x}}
My Favourite Part Was the Whole Thing
10.12.24
{{#arraymap:Event|,|x|x}}
04.12.24
[073]
{{#arraymap:Minh-Ha T. Pham|,|x|x}}
Why We Canât Have Nice Things : Social Mediaâs Influence on Fashion, Ethics, and Property
{{#arraymap:Book|,|x|x}}
Academia
critical
{{#arraymap:Agency, De/colonialism, Fashion|,|x|x}}
Minh-ha T. Pham critically examines the intersection of digital culture and the fashion industry, exploring how social media reshapes ideas of creativity, ownership, and ethical labor. Through incisive analysis, Pham unveils how influencers and platforms commodify aesthetics while obscuring labor inequalities and perpetuating exploitative practices. The book critiques fast fashion and intellectual property disputes, highlighting the ethical dilemmas amplified by digital visibility. With its interdisciplinary approach, the text invites readers to reconsider their complicity in sustaining inequitable systems. A timely contribution, it challenges dominant narratives about fashion's democratization.
04.12.24
{{#arraymap: Agency, De/colonialism, Fashion|,|x| }}
[074]
{{#arraymap:Suzannah Showler|,|x|x}}
Your Internet Browser Does Not Belong to You
{{#arraymap:Article|,|x|x}}
Individual
critical
{{#arraymap:Aesthetics, Agency, Digital culture|,|x|x}}
In the The WIRED article Showler explores how browsers not only serve as gateways to the internet but also influence the way we think, act, and are surveilled online. It examines how features like tabs and private search, initially intended to enhance user experience, reflect and shape our fractured attention spans and desire for privacy. However, the browserâs underlying mechanics, such as tracking and personalized responses to user behavior, expose the tension between browsing as a free, casual act and its deep ties to commercial and surveillance interests. Ultimately, it argues that browsers subtly dictate how we interact with digital spaces, challenging notions of neutrality and autonomy in online environments.
âTo use a browser is, directly or indirectly, to participate in commerce. No act of browsing is ever really idle.â
{{#arraymap:Suzannah Showler, WIRED|,|x|x}}
04.12.24
{{#arraymap: Aesthetics, Agency, Digital culture|,|x| }}
[075]
{{#arraymap:the Dark Forest Collective|,|x|x}}
Internet Real Life (IRL), hosted by Katherine Dee & Peter Limberg
04.04.25
{{#arraymap:Event|,|x|x}}
18.03.25
[076]
{{#arraymap:Modem, Philip Maughan|,|x|x}}
Coded Gestures
{{#arraymap:Article|,|x|x}}
Collaboration
speculative
{{#arraymap:Body, Materiality, Technology|,|x|x}}
Coded Gestures, Sanne van den Elzen
In form of a short research paper, Maughan explores the evolution and potential of hand gestures in human-computer interaction, particularly in the context of emerging spatial computing technologies. The paper reflects on the historical significance of hand representations, such as ancient cave paintings, and examines how our hands have co-evolved with tool use over millennia. It critiques the current design of hand gestures in technology, like Apple's double tap, as mere extensions of existing interactions, and advocates for reimagining hand-based interactions to fully harness the capabilities of spatial computing.
Maughan lays out how gestures serve as both a bridge and a blueprint for future embodied technologies, shaping how we interact beyond screens and devices. As spatial computing evolves, gestures could inspire more fluid, intuitive interfaces that dissolve the boundaries between digital and physical spaces. Their design must embrace cultural diversity, ergonomic fluidity, and emotional expressivity to create meaningful, adaptive interactions. By moving beyond prescriptive, pre-defined gestures, future formats of embodied technology can foster a more symbiotic relationship between humans and machinesâone where interaction feels as instinctive as movement itself.
âAnnie Murphy Paul notes how gestures help us pin down vague thoughts, offering a âproprioceptive hookâ that distributes cognitive load and assists memory. Gestures accompany everyday speech. They replace it when we lack a shared language, or when speech becomes
inaudible or dangerous.â
18.03.25
{{#arraymap: Body, Materiality, Technology|,|x| }}
[077]
{{#arraymap:the Fashion Research Library|,|x|x}}
'Creating Afterlives' Fashion Research Symposium 2025
21.03.25
{{#arraymap:Conference|,|x|x}}
18.03.25
[078]
{{#arraymap:Akseli Manner|,|x|x}}
Swiping Dichotomies: Losing Self-determination to a Digital Gesture â and How to Gain It Back
{{#arraymap:Thesis|,|x|x}}
Individual
critical
{{#arraymap:Agency, Algorithm, Body|,|x|x}}
Swiping Dichotomies website by Akseli Manner
In "Swiping Dichotomies," Akseli Manner critically examines the swiping gesture in digital interactions, particularly in dating apps. It explores the origins of swiping, its tactile and psychological effects, and its role in shaping user autonomy. The thesis questions how algorithmic design influences decision-making, reducing complex human interactions to binary choices. By analyzing swiping's cultural and technological significance, Manner highlights the tension between agency and automation in digital interfaces. The work ultimately seeks to reclaim more intentional, nuanced interactions in a world increasingly driven by frictionless, habitual gestures dictated by platform logic and commercial interests.
By examining the origins, cultural significance and tactile nature of swiping, this thesis establishes swiping as both a technological object and a cultural phenomenon. In exploring whether such gestures enhance or diminish autonomy in digital spaces, its analysis aligns with the ideas set out in Coded Gestures[076], as both texts critically examine how embodied technologies can either empower users or subtly dictate behaviour, urging a more intentional approach to gesture-driven design.
{{#arraymap:Klasse Digitale Grafik â HFBK, Akseli's Instagram|,|x|x}}
19.03.25
{{#arraymap: Agency, Algorithm, Body|,|x| }}
[079]
{{#arraymap:Javier Arce|,|x|x}}
PoetiCal
{{#arraymap:Project|,|x|x}}
Individual
experimental
{{#arraymap:Publishing, Techno-social|,|x|x}}
PoetiCal is an experimental, collaborative publication only accessible through a calendar app.The only way to access this publication is through a calendar app.
The emergence of platforms such as Poetical.day marks a transformative shift in how individuals engage with and share their creative voices through digital media. Enabling collective publishing through this platform (albeit subject to curatorial selection first) is not just about facilitating content creation, but more about fostering community, as the shared human experience of everyday life is highlighted in form and context. The power of such a 'collective publishing platform' lies in the ability to contribute, collaborate and engage with others in small ways.
{{#arraymap:Javier Arce|,|x|x}}
18.03.25
{{#arraymap: Publishing, Techno-social|,|x| }}
[080]
{{#arraymap:Marek Poliks, Roberto Alonso Trillo|,|x|x}}
Disintegrator
{{#arraymap:Podcast|,|x|x}}
Collaboration
critical
{{#arraymap:Artificial Intelligence, Techno-social|,|x|x}}
What does it mean to be human in an age where experience and behaviour are mediated and regulated by algorithms? The Disintegrator podcast is a limited series that explores how artificial intelligence affects who we are and how we express ourselves. Roberto Alonso Trillo and Marek Poliks talk to artists, philosophers, scientists and social theorists at the forefront of the human-AI relationship about the intersections of technology and politics, and the modes of performance and reconsumption through which humans traverse and embed themselves in digital space.
18.03.25
{{#arraymap: Artificial Intelligence, Techno-social|,|x| }}
[081]
{{#arraymap:The Fashion Research Library|,|x|x}}
Fashion Printed Matter(s), Fashion and Art Book Fair
22.03.25
{{#arraymap:Event|,|x|x}}
18.03.25
[082]
{{#arraymap:Nancy Mauro-Flude, Yoko Akama|,|x|x}}
A feminist server stack: co-designing feminist web servers to reimagine Internet futures
{{#arraymap:Article|,|x|x}}
critical
{{#arraymap:Feminism, Infrastructure, Technology|,|x|x}}
This paper explores the idea of a "feminist server stack," which challenges traditional, centralized internet infrastructure by proposing alternative, community-driven digital spaces. It draws from feminist principles to rethink how digital tools and networks are designed, governed, and usedâprioritizing care, consent, and collective control over data. The paper critiques dominant, profit-driven tech ecosystems and imagines new ways of structuring servers, storage, and communication that align with ethical and inclusive values. Ultimately, it advocates for a reimagined digital landscape where technology empowers marginalized voices and fosters more equitable, decentralized, and self-sustaining digital communities.
In reimagining servers as sites of care, A Feminist Server Stack enacts affirmative ethics by centering consent, maintenance, and relationality within digital infrastructure. Through co-design, it resists extractive norms and proposes a situated, collective stack that foregrounds the politics of hostingâwhere serving becomes an act of feminist world-building.
09.07.25
{{#arraymap: Feminism, Infrastructure, Technology|,|x| }}
[083]
{{#arraymap:Zazie Stevens|,|x|x}}
DAISYWORLD CAL
{{#arraymap:Website|,|x|x}}
Individual
experimental
{{#arraymap:Publishing|,|x|x}}
An anatomical diagram of the flower of Magnolia biondii, by Zazie Stevens
DaisyWold MAG has reinvented itself as DAISYWORLD CAL, an ongoing anthology that follows the ancient Japanese calendar of 72 micro-seasons, a system that intricately maps time by recording subtle changes in nature. In this rhythm of fleeting moments, the micro-seasonal online calendar becomes a poetic bridge between the digital and the organic, celebrating the ephemeral permanence of life. It is a tribute to the capricious beauty of nature, an ode to all that blooms, withers and returns to the earth - an eternal cycle of impermanence and renewal.
By adopting a publishing format that follows seasonal shifts and metamorphoses every 5 days, this micro-seasonal online calendar poetically fuses the digital with the natural and the ephemeral with the ephemeral.
Although 'hidden' behind a paywall, Daisyworld Cal is a refreshing break from conventional media cycles, acting as a shared notebook of sorts, housing quotes, audio, recipes and other snippets worth 'standing still' for. In a world driven by speed and instant gratification, this rhythm encourages bite-sized engagement, attentive to incremental change. While maintaining a mailbox-first approach, Subtack's publication does not fall into the trap of explicitly centering the authors' lived experience as a prompt for reflection on wider contexts. The publication format, while online, decentres the digital-only affliction of promoting a false sense of urgency and shifts the focus to (digital) storytelling in form and content as an ode to the cyclical, evolving process in which storytelling and observation naturally unfold.
âEulogizing the capriciousness of nature and all that blooms and is destined to die.â
{{#arraymap:DAISYWORLD on Instagram, Zazie Stevens|,|x|x}}
04.04.25
{{#arraymap: Publishing|,|x| }}
[084]
{{#arraymap:Studio Halia|,|x|x}}
INFINITE PLAY: A Symposium on the Evolution of Storytelling and Creative Process in NYC
23.04.25
{{#arraymap:Event|,|x|x}}
14.04.25
[085]
{{#arraymap:panke.gallery|,|x|x}}
live Gallery Surfing session at panke.gallery with Maya Man and Aram Bartholl
29.04.25
{{#arraymap:Event|,|x|x}}
20.04.25
[086]
{{#arraymap:Melanie Hoff, School for Poetic Computation|,|x|x}}
Consensual Hacking
26.07.25
{{#arraymap:Workshop|,|x|x}}
08.07.25
[087]
{{#arraymap:Floriane Fo Misslin|,|x|x}}
Creating Feminist Paths with Mood Boards
{{#arraymap:Essay|,|x|x}}
Individual
pedagogy
{{#arraymap:Aesthetics, Critique, Feminism|,|x|x}}
In Creating Feminist Paths with Mood Boards, Floriane FoâŻMisslin opens up a path toward an intersectional feminist citational practice for visual references. The essay rethinks mood boardsâoften dismissed as simple inspiration toolsâas sites for thoughtful and politically engaged feminist work. Misslin shows how they can map connections, surface overlooked voices, and challenge dominant narratives in design and education. Through intentional curation, mood boards become spaces for reflection, citation, and imaginationâoffering ways to practice solidarity, build collective knowledge, and foster more inclusive and critical modes of working, especially in creative and pedagogical contexts.
Misslinâs feminist expansion of the mood board as a citational tool is a much-needed intervention in fashion, where visual referencing often goes unacknowledged or uncredited. The work draws urgent attention to how inspiration circulatesâand how it might be redirected toward more ethical, inclusive, and reflexive practices. In a field that frequently celebrates aesthetics without interrogating power, this approach offers a critical perspective on citation as both visual and political. It urges fashion practitioners to trace their influences with care and to reimagine how knowledge is shared.
âWhere does authorship begin? Is a bibliographyâor a set of visual referencesâintellectual property?â
{{#arraymap:Floriane Fo Misslin|,|x|x}}
08.07.25
{{#arraymap: Aesthetics, Critique, Feminism|,|x| }}
[088]
{{#arraymap:Noam Youngrak Son|,|x|x}}
The Archive Of Patchy Studies
{{#arraymap:Platform|,|x|x}}
Individual
critical
{{#arraymap:Data visualization, Interface, Publishing|,|x|x}}
Archive Of Patchy Studies (screenshot) by Noam Youngrak Son
Archive of Patchy Studies is a living, diagrammatic platform by Noam Youngrak Son that maps knowledge through a rhizomatic, non-extractive interface. Designed as a motherboard of interconnected nodes-ranging from essays and images to links and notes-it visualizes conceptual, aesthetic, and affective relations without relying on rigid taxonomy. The archive grows organically, shaped by conversation, intuition, and resistance to capitalist tempo.
Rather than simply storing information, it proposes an alternative infrastructure: one where artistic labor circulates relationally and ethically, inviting slower, situated forms of engagement and meaning-making over time. Some content remains open; other nodes are accessible via subscription.
Diagrams, especially interactive, rhizomatic ones like Son's 'rhizomatic motherboard', challenge traditional data visualisation norms by turning static charts into dynamic, interconnected maps. Unlike dashboards or classification-driven graphs, these diagrams emphasise emergence, fuzziness and mutual causality. Treating the connecting nodes as active elements rather than fixed data points emphasises the importance of non-hierarchical, networked representations, and illustrates how diagrams can become lively and inclusive infrastructures.
âOver time, I hope this platform becomes not just an accumulation of information, but a transformative infrastructure: a space where artistic labor is not extracted, but comes to obtain other forms of value mutually.â
{{#arraymap:Noam's Substack|,|x|x}}
09.07.25
{{#arraymap: Data visualization, Interface, Publishing|,|x| }}
[089]
{{#arraymap:Morgane Billuart|,|x|x}}
Becoming the Product: The Critical Internet Researcher as a Virtual Intellectual
{{#arraymap:Book|,|x|x}}
Individual
critical
{{#arraymap:Publishing, Techno-social|,|x|x}}
In Becoming the Product Morgane Billuart traces the evolution of critical internet research, examining the work of figures such as Geert Lovink, Joshua Citarella, Alex Quicho and Sophie Public. Exploring how researchers navigate the demands of the attention economy, the book reflects on the tension between critique and commodification as it traces the shifting strategies of critical research under pressure to perform, produce and build a brand. What happens to critique when intellectual labour becomes part of the content economy? What does it mean to think critically and sustainably online?
Through her own practice, Morganeâs inquiry blurs the line between critique and performance. By hosting two podcasts and maintaining a presence across multiple platforms, including Substack, Instagram and YouTube, she doesnât just study the dynamics of online visibility â she embodies them.
Her tone shifts from theoretical to personal, revealing a methodological agility attuned to platform aesthetics. By tapping into the systems she critiques, Morgane challenges the divide between observer and participant, and between content and critique. Rather than resolving this tension, her work inhabits it, showcasing the messy, strategic entanglement of intellectual labour and platform capitalism. This is a form of research that is experienced and performed as much as it is written: a vulnerable and incisive mode of enquiry that is shaped from within the infrastructures it studies.
{{#arraymap:Becoming the Product on Substack, Morgane's website, Becoming the Product podcast, Morgane's Instagram|,|x|x}}
09.07.25
{{#arraymap: Publishing, Techno-social|,|x| }}
[090]
{{#arraymap:Hyunseo Cho|,|x|x}}
Vanish Pointer
{{#arraymap:Tool|,|x|x}}
Individual
experimental
{{#arraymap:Critique, Infrastructure, Interface|,|x|x}}
Vanish Pointer by Hyunseo Cho (as used on the Softwear Directory)
Vanish Pointer is a web-based project by Hyunseo Cho that reimagines the digital interface as a three-dimensional, perspective-based space. Designed as both a web extension and a standalone platform, this tool establishes an analogy between our perception of web interfaces and the visual system of perspective. Users can shift the vanishing point to explore websites from new angles, transforming flat webpages into dynamic spatial environments where citational elements â such as sources, authors, dates and internal references â become central structuring forces. Users can invert hierarchies, reveal hidden relationships, and explore multidimensional connections by changing their viewpoint â including curvilinear, panoramic, and spherical perspectives. Vanish Pointer thus encourages critical and sensory engagement with the knowledge architectures that shape online content.
In an age where information circulates endlessly, is remixed and is decontextualised, developing visual citation methods is not just a matter of giving credit; it is an urgent way of taking relational accountability. The hypertextual nature of our digital environments is full of hidden lineages: sources, references and contextual cues that are often obscured by flat, linear design conventions. Experimental approaches such as Vanish Pointer reclaim these overlooked dimensions, rendering citation as a spatial, visual and navigable architecture, not just metadata. By reimagining interfaces as relational terrains, such tools encourage users to think critically about how knowledge is structured, traced and performed, transforming acts of reading, browsing and linking into moments of situated awareness.
In doing so, they foreground citational relationality â an understanding of citation as an active, situated practice that reveals the networks of dependency, influence and care underpinning digital knowledge, rather than as a static reference.
{{#arraymap:Hyunseo's Website|,|x|x}}
09.07.25
{{#arraymap: Critique, Infrastructure, Interface|,|x| }}
[091]
{{#arraymap:Gil Anselmi, GĂŒnseli Yalcinkaya, Studio Halia|,|x|x}}
Beauty, Authorship, and AI: A Conversation with Gil Anselmi
{{#arraymap:Interview|,|x|x}}
Collaboration
critical
{{#arraymap:Aesthetics, Ai, Ethics|,|x|x}}
A conversation between photographer Gil Anselmi and Studio Haliaâs Melisa Yalcinkaya tracing the creative, ethical, and aesthetic stakes of working with AI. Anselmi reflects on using AI not as shortcut but as mediumâtraining models on his own work to retain authorship and blur the lines between tool and technique.
The interview moves between critique and curiosity: raising questions around beauty standards, authorship, and the homogenising pull of AI-generated aesthetics. Anselmi approaches AI as both collaborator and constraintâhighlighting the labour behind prompts, the ecological impact of image generation, and the ongoing tension between intuition and automation.
âI see working with AI as being in conversation with the software.â
17.07.25
{{#arraymap: Aesthetics, Ai, Ethics|,|x| }}
[092]
{{#arraymap:Feline Artz|,|x|x}}
A Slip Of The Tongue
{{#arraymap:Project|,|x|x}}
Individual
critical
{{#arraymap:Feminism, Language, Publishing|,|x|x}}
A Slip of The Tongue bye Feline Artz
After the personal realisation that she unconsciously and unwillingly reproduced sexist patterns in the way she spoke and thought, Feline Artz initiated a project began as a series of consciousness-raising meetings about sexist language. Over time, the meetings themselves became part of the inquiry, and the project developed into an ongoing collection of speech tools and experimental methods. The cards support conversations around language and hierarchies, with the aim of revealing the often invisible power dynamics that influence conversations and encouraging a more conscious way of speaking.
In Slip of the Tongue, Feline Artz considers tools to be open to revision and shaped by use and collective learning. She invites audiences to ânot follow her plan blindly. Learning only happens when we continuously adapt and shift our tools and methodsâ. This invitation to adapt and remake the cards reflects the project's interest in practices that resist fixed categories and final solutions. It's the unstable character of the cards-as-cues that make the project infinitely applicable to different settings; audiences and disciplines.
âLanguage happens in conversation and linguistic practices contribute to broader systems of gendered oppression, so it should be addressed collectively through speech.â
{{#arraymap:Feline Artz, XPUB|,|x|x}}
13.10.26
{{#arraymap: Feminism, Language, Publishing|,|x| }}
[093]
{{#arraymap:Sophie Nadel|,|x|x}}
Encrypted Embroidery
{{#arraymap:Tool|,|x|x}}
Individual
experimental
{{#arraymap:Crafts, Embroidery, Techno-social|,|x|x}}
Encrypted Embroidery is a digital tool by Sophie Nadel that turns a message into a pattern for embroidery. Users can generate a coded design, save it, and reveal the key needed to stitch and decode it. The tool offers a way to explore how information can be encoded and kept offline through a personal, material object.
Nadelâs tool makes the process of encoding a message visible and hands-on. You type something in, see it turned into a pattern, and can imagine carrying it with you as embroidery. It makes information feel like something shaped by rules that we can learn to read and work with, opposed to it disappearing into the void of a device or platform. The tool makes digital literacy tangible by letting audiences practise encryption and consider how, and where, they want to keep their information.
{{#arraymap:Sophie Nadel|,|x|x}}
13.10.26
{{#arraymap: Crafts, Embroidery, Techno-social|,|x| }}
[094]
{{#arraymap:Hyerim Hwang, Seohee Kim, Yeonwoo Kim|,|x|x}}
Textum Club
{{#arraymap:Research|,|x|x}}
Collective
critical
{{#arraymap:Critique, Fashion, Publishing|,|x|x}}
Textum Club is a research group dedicated to practices and publishing in fashion criticism. Its fashion criticism archive introduces books and articles related to critical fashion, alongside essays, interviews, book reviews, and exhibition reviews. Textum Club also invites people to recommend books and topics related to fashion and take part in its activities, ranging from workshops to exhibitions.
Textum Club adds a space for fashion to be read, discussed, and questioned through writing and shared research. Its archive brings together perspectives that can be harder to encounter in fashion cultures centred on images, trends, and commercial narratives, while its exhibitions and workshops let those ideas meet practice. The collaborative effort offers an ongoing, locally rooted contribution to wider conversations about what fashion is and what it can become.
13.10.26
{{#arraymap: Critique, Fashion, Publishing|,|x| }}
[095]
{{#arraymap:Anna Trevisan|,|x|x}}
of techne and logos
{{#arraymap:Thesis|,|x|x}}
Individual
critical
{{#arraymap:Feminism, Post-human, Techno-social|,|x|x}}
'Of Techne and Logos' is a thesis project by Anna Trevisan that explores the cyborg as a condition of digital life and a lens through which to examine gendered power. Across a series of essays, Trevisian considers how digital identity emerges in relation to bodies, images and platforms. The Cyborg Condition, examines the promises of control, belonging and escape offered by online self-presentation, as well as the ongoing work of curation, consumption and self-surveillance that these promises require. 'Programmed to Perfection' expands upon this investigation by examining Ex Machina and Her, tracing the persistence of female cyborg ideals across visible bodies and disembodied voices, reinforced by costumes, interfaces, and atmospheres. A tactile prologue and epilogue contextualise the research as situated practice, and the independently published website extends the inquiry into digital form. The study also acknowledges its limitations, particularly its underdeveloped attention to race, class and genderqueerness.
A productive tension emerges between the essayâs description of unequal systems of aesthetic control and its sweeping assertion that 'we are all cyborgs'. This highlights the profound impact of technology on contemporary life, prompting the question of whether everyone experiences this condition with the same agency or exposure to harm. This question is also relevant to Oftechne.ink, which combines two elements: an exploration of the cyborg as a metaphor and an experimental publishing space driven by code. Built and maintained independently, the site incorporates its mode of circulation into its argument: it is digital, open-source and self-directed.
{{#arraymap:Hanka van der Voet, Alex Esculapio, Lenn Cox, Anna Trevisan, and Wouter Driessen, this body of work has been developed under the support and supervision of, web design and developed by|,|x|x}}
21.10.26
{{#arraymap: Feminism, Post-human, Techno-social|,|x| }}
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[SUBMIT]
As the online realm often feels infinite, this directory highlights non-commercial, critical, and experimental online content related (but not limited) to fashion and creative practices. It features projects, essays, visuals, and events, offering tools to navigate this dynamic landscape.
In gathering a wide variety of practitioners and collectives, we are always expanding, and looking to add to this growing bibliography of âbeing onlineâ.
If you've encountered or created something that fits within this scope, feel free to share and submit!
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