A database of myriad cyberfeminism(s)—post-binary, feminist servers, cyborg witches—from 1990–2020, Cyberfeminism Index launches. Facilitated and gathered by Mindy Seu and commissioned by Rhizome, the site offers a deep archive of hundreds of critical gender studies texts, manifestos, and inititiatives. To aid in navigating its voluminous collection, its interface includes curated ‘collections’ by key voices including original cyberfeminists VNS Matrix, bio-hacker Mary Maggic, and the xenofeminist collective Laboria Cuboniks.
U.S. Representative Alexandria Ocasio-Cortez draws a record-breaking 439,000 concurrent viewers when playing the video game Among Us on the streaming platform Twitch. An effort to bring out the (youth) vote, the stream lasted over three hours, garnered more than five million views in total, and at the time was the lead traffic driver to IWillVote.com. Ocasio-Cortez was joined by fellow Democratic congresswomen Ilhan Omar and various Twitch personalities, who had talked her into setting up an account just a day earlier.
In It Takes More than the Past to Understand and Build the Archive (2020), a video essay commissioned for the 10th issue of Stedelijk Studies on “the Future of Digital Archives and Collections,” glitch artist Rosa Menkman tells the story of her renowned work A Vernacular of File Formats (2010). The video describes the historical, social, and chance contexts that instigated her research into image encoding and data syntax systems, and how our relationship to our own images and data have evolved since.
“Life as we know it,” a group exhibition that “erodes the human/nature binary by studying, collaborating with, and emulating nature’s forms and processes” opens at Toronto’s InterAccess. Curated by Megan MacLaurin, the show assembles work by Ananda Gabo & Anastasiya Yatsuk, Keeley Haftner, Robert Hengeveld, and others, that decentres anthropocentrism and foregrounds plant, animal, fungal, and bacterial knoweldge.