Glitch Feminism

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. Timely and provocative, Glitch Feminism shows how the error can be a revolution.

A new way of thinking about data science and data ethics that is informed by the ideas of intersectional feminism. Today, data science is a form of power. It has been used to expose injustice, improve health outcomes, and topple governments. But it has also been used to discriminate, police, and surveil. This potential for good, on the one hand, and harm, on the other, makes it essential to ask: Data science by whom? Data science for whom? Data science with whose interests in mind? The narratives around big data and data science are overwhelmingly white, male, and techno-heroic. In Data Feminism, Catherine D'Ignazio and Lauren Klein present a new way of thinking about data science and data ethics—one that is informed by intersectional feminist thought. Illustrating data feminism in action, D'Ignazio and Klein show how challenges to the male/female binary can help challenge other hierarchical (and empirically wrong) classification systems. They explain how, for example, an understanding of emotion can expand our ideas about effective data visualization, and how the concept of invisible labor can expose the significant human efforts required by our automated systems. And they show why the data never, ever “speak for themselves.” Data Feminism offers strategies for data scientists seeking to learn how feminism can help them work toward justice, and for feminists who want to focus their efforts on the growing field of data science. But Data Feminism is about much more than gender. It is about power, about who has it and who doesn't, and about how those differentials of power can be challenged and changed.

A pocket color manifesto for a new futuristic feminism Injustice should not simply be accepted as “the way things are.” This is the starting point for The Xenofeminist Manifesto, a radical attempt to articulate a feminism fit for the twenty-first century. Unafraid of exploring the potentials of technology, both its tyrannical and emancipatory possibilities, the manifesto seeks to uproot forces of repression that have come to seem inevitable—from the family, to the body, to the idea of gender itself. If nature is unjust, change nature!

Profiles and portraits of 50 artists and art entrepreneurs challenging the status quo in the art world Confidently curated by Jasmin Hernandez, the dynamic founder of Gallery Gurls, We Are Here presents the bold and nuanced work of Black and Brown visionaries transforming the art world. Centering BIPOC, with a particular focus on queer, trans, nonbinary, and BIWOC, this collection features fifty of the most influential voices in New York, Los Angeles, and beyond. Striking photography of art, creative spaces, materials, and the subjects themselves is paired with intimate interviews that engage with each artist and influencer, delving into their creative process and unpacking how each subject actively works to create a more radically inclusive world across the entire art ecosystem. A celebration of compelling intergenerational creatives making their mark, We Are Here shows a path for all who seek to see themselves in art and culture. #weareherebook

Ben Davis draws the curtain back on the contemporary art world to assail its commodified roots.

A feminist-inflected investigation of color and image-driven consumer culture, Glass Life brings together Sara Cwynar's multilayered portraits and stills from the films Soft Film (2016), Rose Gold (2017), and Red Film (2018). Cwynar's research-driven and visually complex images constitute the hallmarks of contemporary post-Pictures Generation work--in which photography is pursued in relation to film, sculpture, digital culture, and the cultural and technological history of image-making. Cwynar's work revolves around her interest in subjective notions of beauty through images; the fetishization of consumer objects and colors; and the exploration of the informal image archives that have emerged around the industrialization and capitalization of these ideas. As part of her core practice, Cwynar collects, arranges, and archives her eBay purchases and creates studio studies of these consumer objects, exploring how images circulate online and how the lives and purposes of both physical objects and their likenesses change over time. Sara Cwynar: Glass Life is a must-have sourcebook for understanding the multilayered practice of this celebrated, multidisciplinary artist.

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 'Laboria Cuboniks' collective that developed the acclaimed manifesto 'Xenofeminism: A Politics for Alienation'. 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. Challenging and iconoclastic, this visionary book is the essential guide to one of the most exciting intellectual trends in contemporary feminism.

Citizens of networked societies are almost incessantly accompanied by ecologies of images. These ecologies of still and moving images present a paradox of uncertainties emerging along with certainties. Images appear more certain as the technical capacities that render them visible increase. At the same time, images are touched by more uncertainty as their numbers, manipulabilities, and contingencies multiply. With the emergence of big data, the image is becoming a dominant vehicle for the construction and presentation of the truth of data. Images present themselves as so many promises of the certainty, predictability, and intelligibility offered by data. The focus of this book is twofold. It analyses the kinds of images appearing today, showing how they are marked by a return to modern photographic emphases on high resolution, clarity, and realistic representation. Secondly, it discusses the ways in which the uncertainty of images is increasingly underscored within such reiterated emphases on allegedly certain visual truths. This often involves renewed encounters with noise, grain, glitch, blur, vagueness, and indistinctness. This book provides the reader with an intriguing transdisciplinary investigation of the uncertainly certain relation between the cultural imagination and the techno-aesthetic regime of big data and ubiquitous computing. This book was originally published as a special issue of Digital Creativity.