Anna Billany
annabillany@gmail.com
@annabillany
stockport, uk
@ PINK
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Ridding ourselves of the binary: An evaluation of protest art in Cyberfeminism and related movements
An essay I wrote as part of my final year in BA Illustration with Animation at Manchester School of Art, which I was graded at 85. I’m still quite proud of this essay - please find attached my ramblings of tech, star wars, xenomorphs and glitch.
Please note images are not available due to copyright!
Rationale
Within this essay I have chosen to explore the cyberfeminist movement as a medium of protest art for the feminist political movement and how technology can enhance our capabilities to protest. The feminist movement holds immeasurable value to me and as an artist who works with many new media technologies, the cyberfeminist movement is a highly interesting intersection of the two fields. Philosophical debates surrounding transhumanism – the way we use technology to enhance natural capabilities, is also fundamental to understanding the cyberfeminists. Feminist art has a rich and powerful history and the fringe and niche movements that have sprung off from the main ‘waves’ of feminism deserve to be examined for both their philosophical and political beliefs, but also as forms of visual protest as a vehicle for change. The intersection of art and technology is truly relevant today in our heavy tech-dependant society, and examining this intersection provides me with an endless drive to keep producing my own creative output, in whatever form it may take.
❖ Introduction: Cyborgs and Star Wars
❖ Chapter One: Matrix
❖ Chapter Two: Xenomorph-Ing
❖ Chapter Three: We are Glitch
❖ Conclusion
❖ Full Figure List
❖ Reference List
❖ Bibliography
Introduction: Cyborgs and Star Wars
Donna Haraway’s essay ‘A Cyborg Manifesto’ became a topic of discussion amongst feminist thinkers when it was released in 1985, a time that many sociologists regard as the ‘genderquake’. The 2nd wave of feminism along with economic changes had seen a shift in power from men to women which allowed the upward social mobility for many women in the western world. Attitudes towards women’s roles in the workplace, relationships and sexual liberation caused more women to work in male-dominated careers than ever, a large shift from the nuclear-cantered family that had been the norm throughout previous decades. Alongside this, the development in technological advancements was reaching unprecedented levels. Although the internet had been invented prior, the first Web browser was made publicly available in 1990 and therefore allowed the internet to be more accessible than ever before. Feminist Cynthia Cockburn believed that technology was a patriarchal institution as women historically have been ‘excluded from technological knowledge, acted upon by technology and not interactive with it’1. Judy Wajcman also corroborates the notion of technology being a patriarchal institution, believing that there is a ‘designer/user divide’2 in which women are not involved within the making of technology, therefore are excluded, and disadvantaged from its benefits. Donna Haraway’s text completely subverts these notions and argues for feminists to wield technology as a method of self-determination.
Published in the Socialist Review in 1985, Haraway’s ‘A Manifesto for Cyborgs: Science, Technology and Socialist-Feminism in the Late Twentieth Century’ birthed the cyberfeminist movement, it is a unique call to action that proposes an embrace of technology, for people to become ‘cyborgs’ – chimeric hybrids of the natural and synthetic. The manifesto was written as a criticism of a dystopian USA where technology was being used as a method of oppression, the ‘Star Wars’ programme implanted around the time the manifesto was released allowed for billions in extra funding for the arms race against the USSR. Haraway states in the manifesto “The main trouble with cyborgs, of course, is that they are the illegitimate offspring of militarism and patriarchal capitalism, not to mention state socialism. But illegitimate offspring are exceedingly unfaithful to their origins. Their fathers are inessential”3. This call for rebellion against patriarchal systems and the embrace of technology and transhumanism sets Haraway apart from other feminist thinkers and inspired the cyberfeminist movement into action. As explored within this essay, this cult and seminal text has influenced visual culture and protest art, even now almost 40 years since it is original publication. Although Haraway did not coin the term Cyberfeminist, which is the work of Sadie Plant, her notions of cyber-revolt are the basis in which this movement operates upon.
1 Phizacklea, A. and Cockburn, C. (1987) “The machinery of dominance: Women, men and technical know-how,” Feminist Review, (26), p. 9
2 Wajcman, J. (2006) “Technoscience Reconfigured,” in Technofeminism. Cambridge: Polity Press, p. 46.
3 Haraway, D.J. (1985) “A Cyborg Manifesto,” Socialist Review, pp. 9–10.
Chapter 1: Matrix
1991 saw the release of the ‘A Cyberfeminist Manifesto for the 21st Century’ from Australian art collective the VNS Matrix, it was released upon the internet and shown to the public on large billboards and as such had global reach. This can be regarded as the first example of cyberfeminist protest art.
Figure 1: VNS Matrix’s ‘A Cyberfeminist Manifesto for the 21st Century’ (1991)
As seen in the image above, the content of the text is biting and hyper-sexual mentioning ‘cunts,’ the ‘clitoris,’ ‘slime,’ and ‘tongues’ with a bold and unforgiving font. Surrounding this text is collage work, a mix of photography and digital media, invoking a claustrophobic and overwhelming feeling. The content of the text refers to the feminine body but in an aggressive and assertive manner, it is socially provocative however ties in with the ‘Cyborg’ trope of intertwining biology with technology. The figures either side of the text are presented in a dominant, flexing pose common in bodybuilding. It completely disregards normal notions of feminine ‘prettiness,’ completely subverting how a female body would be presented in media. Virginia Barett, an original member of VNS Matrix
described the manifesto as ‘blasphemous’4 in an interview. VNS Matrix opened the notion to a wider public audience of a techno-utopia in which many could disregard the gender binary and liberate themselves from the AFK (away from keyboard, in internet slang) patriarchy.
VNS Matrix created work that was pure cultural dissidence, unashamed in its abrasiveness. The disjointed use of collage and inflammatory imagery draws parallels to the riot grrrl movement, which was occurring during the same period, having originated in 1990 from the Pacific Northwest, USA. The correlation of these separate movements wielding the visual arts as a way of voicing grievances displays truly how important in art is to political change. Riot grrrl differed, however, in its mediums. A key component of cyberfeminism is its use of new media technologies, such as video, graphic art, coding, and video games which is the complete foil of the riot grrrl method; many employed the use of collage, zines, and posters. The differences in medium open a question around accessibility and class divide. Cyberfeminism has been critiqued regarding its inaccessibility, new media technologies are only available to those with the economic capital required to purchase them. The activism of these two movements can be compared with their ocular metaphors – both contain a form of ‘tongue-and-cheek' playfulness as a taunt of sorts towards the patriarchy.
Fig 2: Excerpt from Riot Grrrl DC, Sarah Dyer Zine Collection, David M. Rubenstein Rare Book & Manuscript Library, Duke University.
In the figure above parallels can clearly be seen between these movements from the disjointed layout and inflammatory language to the use of blocks of text with tangible rage against the patriarchal establishments. Grounded in alternative punk cultures, photocopied zines, and mission statements, riot grrrl works undoubtedly employ sarcasm and parody in their style and layout, suggesting some affinities with cyberfeminist
4 Evans, C.L. (2014) An oral history of the first Cyberfeminists, VICE. Available at: https://www.vice.com/en/article/z4mqa8/an-oral-history-of-the-first-cyberfeminists-vns-matrix
techniques. The medium however is what set them apart from the cyberfeminist crowd, the riot grrrl movement has survived in history as the more successful and well- remembered movement, fitting in with the punk zeitgeist of its time. The accessibility of riot grrrl as well provides a larger audience. The cyberfeminists were forced into obscurity due to their lack of inclusivity for all women. Sociologists Wilding and Maria Fernandez comment on this in their text Domain Errors: Cyberfeminist Practices “Cyberfeminism presents itself as inclusive, but the cyberfeminist writings assume an educated, white, upper-middle- class, English speaking, culturally sophisticated readership,”5 the movement therefor neglected inclusion of the marginalised women it set out to liberate. It could from this point, be argued that cyberfeminism was simply a zeitgeist of the 1990s, spurred on by the developments of technology. As seen in the following chapters, Cyberfeminism has since been reincarnated with a more ubiquitous inclusion of peoples.
Chapter 2 : Xeno-morphing
Continuing with the transhumanist ethos of Donna Haraway’s ‘A Cyborg Manifesto’ and from the ashes of the almost forgotten cyberfeminist movement, feminist collective Laboria Cuboniks released its own manifesto, ‘Xenofeminism: A Politics for Alienation’ in 2015, the text ends with a summative quote of ‘If nature is unjust, change nature!’6. The manifesto calls to overthrow forces of repression, including the nuclear family, patriarchy to gender, and human nature itself. Xenofeminism continues with a philosophy unafraid of technological growth and its ability to bring about the emancipation of long-marginalized peoples. As such, it is a more intersectional philosophy in comparison to the cyberfeminists of the 1990s, leading to more groups embracing this philosophy such as queer and trans artists.
5 Fernandez, M., Wilding, F. and Wright, M. (2002) “Situating Cyberfeminisms,” in Domain errors!: Cyberfeminist practices. New York: Autonomedia, p. 21.
6 Laboria Cuboniks. (2015) The Xenofeminist Manifesto: a politics for alienation. London: Verso. P. 93
Fig. 3: QUIMERA ROSA’s ‘Trans*Plant’ (2016)
The ongoing ‘Trans*Plant’ project by collective QUIMERA ROSA fits the ethos entirely and bridges the gap between fine art practice and scientific experiment, with author Mindy Seu describing its transdisciplinary nature quoting that it ‘utilizes living systems and is based on self-experimentation’7. The project focuses on blending the natures of humans and plants, often as an allegory for gender abolition. The project is described on the QUIMERA ROSA website as the following:
“
Throughout the project description by the artists themselves, Donna Haraway’s Cyborg concept is mentioned frequently, the project itself can be seen as an example of fusing human nature with technology and changing the world itself to be a non-anthropocentric ecology. The project itself consisted of many performances, open debates, and experimentation – the performances were often documented with photography and displayed online to allow for a wide accessibility.
In comparison to the previous examples used, it can be said that the ‘Trans*Plant’ project is certainly less blatant as a form of protest art – despite the philosophy being undeniably radical in its discussion of gender abolition and changing the nature of human biology. The project itself is more akin to an experiment, with a focus on documentation and ethical discussion rather than the aggression that was seen from the VNS Matrix. Xenofeminist writer Helen Hester, member of the aforementioned Laboria Cuboniks collective, stated in her text entitled ‘Xenofeminism’ that “We position ourselves as Haraway’s disobedient daughters”9 yet the movement seems to lack the playful disobedience that the Cyberfeminists of the 90s held dear. It is hard to categorise as protest art when so much of the movement is centred around philosophical discussion.
The absolute controversy of anti-naturalist philosophy has, furthermore, prevented the Xenofeminist movement from truly having a larger audience. Cultural theorist Mark Fisher regarded the movement highly, praising the collective Laboria Cuboniks for ‘definitively grasp[ing] feminism back from the [...] hands of the moralising-spiteful petit- bourgeoisie’10. This demonstrates the potential to become a truly powerful force in achieving its emancipatory goals; Mark Fisher was a cultural thinker who was highly influential and often discussed new media art alongside political theory, so his praise of the movement speaks to it’s impressive capability. However, it has not been without its critiques which co-opt the original discourse against the Cyberfeminists. Annie Goh states
7 Seu, Mindy. (2022) Cyberfeminism index. Los Angeles: Inventory Press. P. 318 8 QUIMERA ROSA (2016) Transplant, QUIMERA ROSA. Available at: https://quimerarosa.net/transplant-en/
9 Hester, H. (2019) Xenofeminism. Cambridge, UK: polity. P.20
10 After accelerationism: The Xenofeminist Manifesto (2015) Available at: https://tripleampersand.org/after-accelerationism-the-xenofeminist-manifesto
hybridization of human blood with chlorophyll by a regular protocol of intravenous injections, external translation
of the process by chlorophyll tattoos, implantation of a RFID chip where to store all data process, development and
attachment of typical plant sensors (acidity level, specific electro-magnetic waves, ...) to human body and feedbacks
on physical activity, medical self-experimentation on condylomata acuminata cells and, finally, the creation of a
public open-source data of the experiments. ” 8
in her article ‘Appropriating the Alien’, published in 2019, that the movement was once again spearheaded by white, middle-class, western feminists which is ironic considering the title of the movement itself beginning with the prefix ‘Xeno’ which hails from the Greek ‘Xenos’ (foreign, alien, or strange). Laboria Cuboniks have not acknowledged the proximity to the term ‘Xenophobia’ with Goh stating in her article ‘with xenophobia being a very real and pressing issue in the context of the contemporary resurgence of the far- right, and with the well-known rise of white nationalist and Islamophobic feminisms, to make this immediate equivalence of ‘xeno’ with ‘alienness’ and attempt to fill it with positive rather than negative content, cannot be regarded as straightforward.’11.
Although a flawed and relatively recent movement, it cannot be argued that the Xenofeminists have not had an impact; the Xenofeminist Manifesto text has since its release gained significant traction in the art world, new media institutions, and academia. It has also been translated into twelve different languages. It has been quickly incorporated into curricula worldwide and is regularly brought up in feminist discussions, particularly those that focus on technology. However, it must not be understated the neglect of discussion of women of colour despite it’s emancipatory ethos and therefore cannot be fully regarded as successful protest art. Women of colour however, have been making artwork with similar a similar ethos, though under other intersectional terms, for example the ‘Afrofuturist’ label.
Fig. 4: Tabita Rezaire’s ‘Afro Cyber Resistance’ (2014)
New media artist and therapist Tabita Rezaire creates digital and video pieces, frequently including herself in them. In her art, the human body is regarded as a technology. Her writings on race, intersectional politics, and Afro-feminism are prevalent. She navigates digital, physical, and ancestor memories as sites of fortitude while delving into scientific
11 Goh, A. (2019) Appropriating the alien: A critique of xenofeminism, Mute. Mute Publishing Limited. Available at: https://www.metamute.org/editorial/articles/appropriating-alien-critique- xenofeminism#sdfootnote3sym
fantasies to address coloniality's pervasive matrix and the protocols of energy misalignments that have an impact on the melodies of our body, mind, and spirit. Tabita's work is founded in time-spaces where technology and spirituality collide as fertile ground to develop ideals of connection and emancipation and is inspired by quantum and cosmic mechanics.
The use of Afrofuturist aesthetics to provide a voice for women of colour, whilst also paying homage to the original and DIY stylings of the VNS Matrix, shows that intersectional protest art can be achieved. Rezaire’s work displays the blunt and cut-throat messaging that the Xenofeminist artwork lacked and includes more accessibility to those not within the global north. She has also discussed the discrimination that women often face online, a topic uncommunicated by both Cyberfeminists and Xenofeminists alike. In her video work ‘Afro Cyber Resistance’ (see figure above) Rezaire criticises the Westernization of the Internet and the practise of white supremacy. It claims that systematic racism and patriarchy are present on the Internet as it is within wider society and has called for the “decolonisation of the internet”12.
From the comparisons above it can be shown that the Afrofuturist methodology of protest art has been more successful in conveying the principles of both Cyberfeminism and intersectional feminism. This merging of different schools of thought regarding what it means to be a black woman online has had great impact on author and curator Legacy Russel, building upon these philosophical debates to create Glitch Feminism.
Chapter 3: We are Glitch
2020 saw the publication of ‘Glitch Feminism’ – a manifesto that lays out several radical demands through the examples of narrative, memoir, art, and critical theory. Author Legacy Russell demonstrates that liberty may be found inside the cracks and flaws between gender, technology, and the body. Where a glitch may traditionally be seen as an error, Russell's book makes comparisons between technology malfunction and the ways that people are labelled as "faulty" if they refuse to adapt into hegemonic society. She argues that there is no longer a divide between the digital and AFK worlds and to proudly be a ‘glitch’ is a form of refusal against a divided society. The text contains many calls to action such as “We will find life, joy and longevity in breaking what needs to be broken [...] the institution of the body alienates us”13.
Queer histories, blackness in visual culture, Internet culture, feminism, and new media are the main topics of Russell's curatorial and scholarly work. She has produced work as a curator centred on her original theory of glitch feminism and has organised projects and shows at many highly regarded galleries such as the Museum for Modern Art and the Institute of Contemporary Art, London. Although a relatively new theory, it cannot go unstated the incredible reach Russell has had in displaying and communicating her ideas, making Glitch Feminism incredibly accessible for a wide audience. Furthermore, Russell has been researching her theories of Glitch Feminism since 2013 and as such, has been
12 Nestor, H. (2018) Tabita Rezaire: 'reclamation allowed me to glow into My blackness, womanhood and queerness', Studio International: Visual Arts, Design and Architecture. Available at: https://www.studiointernational.com/index.php/tabita-rezaire-interview
13 Russell, L. (2020) Glitch Feminism: A Manifesto. London: Verso. P. 152
collaborating with creatives for almost 10 years, to produce databases and indexes of protest and artistic disobedience.
Chapter three of the manifesto, ‘Glitch Throws Shade’ begins with discussion of the multimedia artist and creative Juliana Huxtable, a transgender, intersex, woman of colour who identifies with the cyborg theories of Donna Haraway. Russell describes Huxtable as “seek[ing] to shatter the rigidity of binary systems”. Huxtable’s practice of celebrating her body as glitch, a defiance of the established norm, perfectly encapsulates the Glitch Feminist methodology of protest art.
Fig 5. Frank Benson’s ‘Juliana’ (2015)
Fig 6. Juliana Huxtable’s ‘Untitled’ (Psychosocial Stuntin’) (2015)
Huxtable's creative presence reached new heights during the 2015 New Museum Triennial in New York City; the exhibition presented a 3D-modelled plastic body, that of Huxtable’s, made by artist Frank Benson. The plastic body is painted in an otherworldly shade of metallic green, whilst possessing the body parts of both sexes. It is an unashamed celebration of trans bodies, the sculpture features Juliana in an almost regal posture, one that would have been seen in Grecian sculptures. Vice commented this within an article praising the artwork, stating its likeness to the ‘Sleeping Hermaphraditus’14. Facing the sculpture as depicted in figure 5, Huxtable’s self-portraits are arranged on the wall alongside two others of her designs. Her self portraits are coloured in nuclear shades of purple and green, with her figure arranged in powerful poses. Composition wise, Huxtable appears regal yet alien, with many other references to religious imagery, as Huxtable remains faithful to her religious upbringing in a bible-belt state.
Huxtable is an exemplum of being a glitch in a hostile environment, her existence is completely detached from familiar gender structures, yet she uses this to empower others to claim their own glitched identities. The ‘Glitch Feminism’ manifesto discusses many artists and concepts in regard to glitched bodies and identities, many of those belonging to queer communities and marginalised people of colour. The text promotes ‘becoming your own avatar’ and using technologies such as the internet to create a space where humans can become more comfortable in their own glitched identities, as they may not be welcome in AFK life. Whilst Huxtable’s artistic visions and Russell’s literature and work are incredibly successful examples of protest art, it holds questions about the utopian view held by Cyberfeminism regarding cyberspace and technology. Prejudice is embedded
14 Sargent, A. (2015) Artist Juliana Huxtable's bold, Defiant Vision, VICE. Available at: https://www.vice.com/en/article/exmjkp/artist-juliana-huxtables-journey-from-scene-queen-to- trans-art-star-456
in technology of all forms and undermines the radical emancipatory potential by Cyberfeminists, Xenofeminists, Afrofuturists and Glitch-feminists alike.
Sociologist Laura Bates published harrowing read, ‘Men Who Hate Women: The Truth about Extreme Misogyny and How it Affects Us All,’ in September 2020. The text explores the ‘Manosphere’ – online communities of violent misogynists and their impact in real-life scenarios, from harassment and sexualisation of women, to mass-murder and terrorism. This text conveys the true precarious situation that women and more vulnerable peoples face online, Bates details the “living, breathing ecosystem in close, symbiotic relationships with other online communities like white supremacists and trolls”15. The utopian haven of online spaces simply cannot co-exist whilst violent acts are committed online every day. This too, is neglecting the patriarchal and capitalist ownership of technology as an institution and the human rights offenses it commits daily. Technology is used to control women, to survey marginalised communities and inflict unparalleled damage every the day at the whim of global powers, a reality explored by new media artist and multidisciplinary designer Diana Ganea.
Fig 7. Diana Ganea’s ‘LifeCredit’ (2019)
Contrasting to the utopian view of technology seen discussed within many of the previous artist examples, Ganea’s ‘LifeCredit’ delves into dystopian, capitalist surveillance policies and unveils the tyrannical potentials of technology when wielded by those in power. The artwork is a mix of video game and 3D animations existing within a virtual environment, set in the near future of 2050. It is a game impossible to win by design with Ganea stating in her artist statement “When designing the game, I was very preoccupied with the social consequences of such a system and the concept of handing off decisions of ethics to
15 Bates, L. (2020) Men Who Hate Women. Simon & Schuster UK. P. 10
technology and computers with no emotional intelligence”16. ‘LifeCredit’ explicitly is a commentary of the UK Conservative government and its use of private companies, considering the intrusive and unethical data collection methods used by businesses like Google, Amazon, or Meta, all of which exist under the control of male autocrats.
To make the game's world appear fabricated and unreal, Ganea eschewed using textures and colours in its design, conveying a sense of loneliness one can have in a cold and lifeless technocracy. ‘LifeCredit’ is a brilliant and derisive commentary on the imperfections of modern technology and therefore successful as protest art. Ganea’s work employs the use of new media art to bring light to issues often undiscussed by the Cyberfeminists and all of their related subsequent movements, demonstrating that although valuable in contemporary political and creative debate, it is a flawed ethos in practice.
Conclusion
As we advance into a society more intertwined with technological advancement, it is paramount that critical voices are heard and listened to. The Cyberfeminists and all who have came after them, in their protest, are opening many avenues for progressive discussion and therefore action against an unequal and dividing world. It can clearly be seen through this examination that Cyberfeminism is a very flawed ideology, neglecting certain peoples and points of view, such as listening to women of colour and unintentionally excluding those in the global south. However, although flawed, they are not unsuccessful in any means. New media art has seen incredible leaps and bounds in development, and the Cyberfeminist discussions of online identity and dismantling patriarchal institutions of gender roles do certainly have their place within modern feminist practice. Such a sprawling ocean of discussion and content has been published from a very originally fringe movement. Throughout my research I have often used the Cyber-feminism Index17, by author Mindy Seu, an almost 600-page online and physical document in chronological order of Cyberfeminist practices since the 1990s. The fact that this database exists shows how relevant these practices are to modern marginalised peoples and that protest art does have an impact, connecting artists and thinkers across the globe.
In terms of my personal practice, as someone who uses new media technologies regularly for creative expression, this research has revealed to me unlimited pathways in which to take my artwork. I have always been unashamed in creating authentic feminist narratives within my work but through my exploration of different Cyberfeminist practices, I believe a lot is to be learnt for me philosophically. The current state of women’s rights infringements requires more protest art, to expose to as many eyes as possible the dangerous patriarchy we exist in. We should not simply accept all that is around us, all the
16 (2019) Diana Ganea. Available at: https://www.dganea.com/lifecredit.html
17 Seu, M. Cyber-Feminism Index. Available at: https://cyberfeminismindex.com/.
many manifestos discussed, from Haraway’s ‘A Cyborg Manifesto’ in 1985 to Russell’s ‘Glitch Feminism’ in 2020, discuss so many important topics not to be ignored. The Cyberfeminists' writings were witty, brazen, and bold, and they emanated an energy and optimism that gave the impression that the abolition of gender might truly be possible—at least in cyberspace.
We now know that misogyny, racism, and bigotry are as pervasive online as they are in real life, in spite of the good intentions of the internet's early adopters. This can be seen in the writings of Laura Bates, documenting the many-headed hydra that is misogyny online. By allowing users to express themselves anonymously—a feature that Cyberfeminists felt would be liberating—the online world essentially mirrored the social conditions of the actual world and, in some cases, made the worst of them even worse. Capitalism as well, is a driving factor in the violence of technology, a problem that cannot simply be solved with protest art.
Yet, Cyberfeminist art merits a second look, and to be acknowledged as a significant art historical movement. And even while the present does not represent the Cyberfeminists' idealised future, I am nonetheless motivated by their fervour and extreme commitment.
Full Figure List
Figure 1: VNS Matrix’s ‘A Cyberfeminist Manifesto for the 21st Century’ (1991) [Online] [https://vnsmatrix.net/projects/the-cyberfeminist-manifesto-for-the-21st-century]
Figure 2: Riot Grrrl DC, Sarah Dyer Zine Collection, David M. Rubenstein Rare Book & Manuscript Library, Duke University [Online]
[https://archives.lib.duke.edu/catalog/sarahdyercollection_aspace_ref539_lkq]
Figure 3: QUIMERA ROSA’s ‘Trans*Plant’ (2016) [Online] [https://quimerarosa.net/transplant-en/]
Figure 4: Tabita Rezaire’s ‘Afro Cyber Resistance’ (2014) [Online] [https://vimeo.com/114353901]
Figure 5: Frank Benson’s ‘Juliana’ (2015) [Online] [https://www.vogue.com/article/juliana-huxtable-new-museum-triennial]
Figure 6: Juliana Huxtable’s ‘Untitled’ (Psychosocial Stuntin’) (2015) [Online] [https://www.artsy.net/artwork/juliana-huxtable-untitled-psychosocial-stuntin]
Figure 7: Diana Ganea’s ‘LifeCredit’ (2019) [Online] [https://www.dganea.com/lifecredit.html]
Bibliography
After accelerationism: The Xenofeminist Manifesto (2015) Available at:
https://tripleampersand.org/after-accelerationism-the-xenofeminist-manifesto
Bates, L. (2020) Men Who Hate Women. Simon & Schuster UK. P. 10
Evans, C.L. (2014) An oral history of the first Cyberfeminists, VICE. Available at:
https://www.vice.com/en/article/z4mqa8/an-oral-history-of-the-first-cyberfeminists-vns- matrix
Fernandez, M., Wilding, F. and Wright, M. (2002) “Situating Cyberfeminisms,” in Domain errors!: Cyberfeminist practices. New York: Autonomedia, p. 21.
Ganea, D. Available at: https://www.dganea.com/lifecredit.html
Goh, A. (2019) Appropriating the alien: A critique of xenofeminism, Mute. Mute Publishing Limited. Available at: https://www.metamute.org/editorial/articles/appropriating-alien- critique-xenofeminism#sdfootnote3sym
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Laboria Cuboniks. (2015) The Xenofeminist Manifesto: a politics for alienation. London: Verso. P. 93
Nestor, H. (2018) Tabita Rezaire: 'reclamation allowed me to glow into My blackness, womanhood and queerness', Studio International: Visual Arts, Design and Architecture. Available at: https://www.studiointernational.com/index.php/tabita-rezaire-interview
Phizacklea, A. and Cockburn, C. (1987) “The machinery of dominance: Women, men and technical know-how,” Feminist Review, (26), p. 9
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Sargent, A. (2015) Artist Juliana Huxtable's bold, Defiant Vision, VICE. Available at: https://www.vice.com/en/article/exmjkp/artist-juliana-huxtables-journey-from-scene- queen-to-trans-art-star-456
Wajcman, J. (2006) “Technoscience Reconfigured,” in Technofeminism. Cambridge: Polity Press, p. 46.