[NetBehaviour] .dpi 28 / Call for Projects: Gender(ed) Cultures on the Internet

netbehaviour netbehaviour at furtherfield.org
Mon Jul 22 12:37:18 CEST 2013


.dpi 28 / Call for Projects: Gender(ed) Cultures on the Internet

Call for Submissions
.dpi issue 28 (fall 2013)
Deadline: 13 September 2013
http://dpi.studioxx.org/

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

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

On the internet, like-minded users find communities of interest based on 
mobilizing conversations around feminism and masculinism alike. Donna 
Haraway and Coco Fusco suggest that the early internet may have 
precipitated emancipatory potentials for the performance of gender, as 
receding boundaries between bodies and machines would allow for 
historically invisibilized and marginal gender subjectivities to be 
heard. Conversely, the imbalanced history of representational structures 
upheld by museum and academic art institutions run up against these 
optimistic intentions on the internet. In light of a vast majority of 
Wikipedia editors identifying as male and recurring uproars over 
representation disparity in video games and net art, the gaps in 
representation of women and queer people in technology and new media art 
remain unexplained and unresolved. On one hand, the complex, intertwined 
relationship between social discourse and representations of gender
online could be examined, since rigid ideals of masculinity and 
femininity are still dominant in online communities like OKCupid et 
AskMen and MPUA (pickup artists) forums. On the other, artistic practice 
that co-opts and/or questions these definitions may open doors for new 
ways of understanding the social construction of gender.

While Cyberfeminist collectives of the 90s sought to specifically 
infiltrate the male-dominated arena of net.art, feminist networked 
practices are pluralist today. Early artistic users such as Netochka 
Nezvanova and the late LaTurbo Avedon exploit the apparent anonymity of 
networks to project unstable personas and interests. Nowadays, online 
feminist critique reflects gendered realities and aspirations of users, 
ranging from subversive pop cultural remix to latent commentary in image 
aggregation on tumblrs. Elsewhere on the internet, honest writing by 
bloggers and writers such as Karley Sciortino (Slutever) et Marie 
Calloway have invoked blogosphere uproar over the “correct” artistic 
self-representation of female sexuality. Ultimately, binary notions of 
gender (masculinity and femininity) as an acculturated performance of 
imitating socialized ideals manifests in technology, and is also a 
product of technology. Yet these conventions are rendered
unstable by user deliberation of such representations within the 
informal space of the web (1). What kinds of practices and 
representations are currently important to women and queer people? What 
conversations reflect the realities of gender distribution in art on the 
internet? What would a truly postgender online environment look like? 
What kinds of uses of the network breach existing ideas of bodily 
performativity?

Submission of completed articles may include (and are not limited to):
- analyses of queer, transgender, and/or heterosexual culture online;
- networked art practices and conversations on feminism and queerness;
- descriptions of non-academic, artistic and social feminist 
conversations and practices facilitated by the internet;
- the gendered structure of the internet;
- feminist analyses on internet subculture;
- interviews with creatives who work within related themes;
- statements and manifestos;
- alternative histories of online feminist art practice.

Completed texts and/or projects by interested participants of all 
sexualities and orientations are welcomed.

(1) Jack Judith Halberstam. "Automating Gender : Postmodern Feminism in 
the Age of the Intelligent Machine", Feminist Studies, Vol. 17, No. 3. 
(Automne 1991), 440.

/////

To Submit

.dpi is looking for submissions relevant to (or stemming from) “the 
Web”, including text, image, sound, video, animation, interactive works, 
or others, and any combination of these, produced collaboratively or 
individually. Types of submissions include (but are not limited to) 
short essays, criticism, interviews, case studies, reviews, reports, 
creative works (or extracts), and other imaginative responses. The 
editorial committee encourages the submission of non-academic 
contributions (or that go beyond the academic style). Text length can 
vary between 500 and 1500 words (maximum), depending on the form and the 
media used.

Please send your submission (along with relevant images, videos, 
hyperlinks, etc.), a short biography (100 words) per person involved, an 
abstract (100 words), as well as 2 to 5 keywords, by Friday, 13 
September 2013 to: revuedpi(at)gmail.com

An honorarium is offered depending on the length and complexity of the 
contribution. The authors and artists are responsible for all copyright 
related to the submitted content.

Submissions that fall outside of the Themed Section are also welcomed 
and will be considered for publication in the Field Studies Section 
(“hors dossier”).

/////

Based in Montreal and published online, .dpi opens a unique and 
bilingual space for dialogue and interdisciplinary critical reflection, 
research, experimentation, documentation, and positions and 
propositions, situated at the intersection of art, technology and 
feminisms. The journal is a platform where the bold, critical, engaged 
and curious contributor may question issues related to feminism (in all 
its varieties), art and digital culture.

dpi.studioxx.org
dpi.studioxx.org/blog
www.facebook.com/dpistudioxx
twitter.com/dpi_revue





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