Cyberfeminism Explained

Cyberfeminism is a feminist approach which foregrounds the relationship between cyberspace, the Internet, and technology. It can be used to refer to a philosophy, art practices, methodologies or community. The term was coined in the early 1990s to describe the work of feminists interested in theorizing, critiquing, exploring and re-making the Internet, cyberspace and new-media technologies in general.

The first use of the term cyberfeminist has been attributed to Australian artists and art collectives. The inception of the cyberfeminist art movement is described by one of its pioneers Linda Dement, as one that coagulated and sparked in the reject-outsider mutiny, trauma-jouissance and fast hard beat of queer punk. It found visible existence and a manifesto, through VNS Matrix in the (typical) Adelaide heat wave of 1991…Cyberfeminism, as blurred edge range, entangles carnality with code; machines, blood and bad language; poetry and disdain; executables, theft and creative fabrication. It incites and follows lines of flight powered by contradiction, relatedness, transgression, and misbehaviour. It simultaneously embraces logic and unreason, giving the finger to binaries as it ravishes them."[1]

VNS Matrix's A Cyberfeminist Manifesto for the 21st Century was published online in 1991.[2] [3] [4]

The foundational catalyst for the formation of cyberfeminist thought is often attributed by Europeans to Donna Haraway's "A Cyborg Manifesto", third wave feminism, post-structuralist feminism, riot grrrl culture and the feminist critique of the alleged erasure of women within discussions of technology. Although the cyberfeminists _in the know_ will always take time to explain that it was Sadie Plant who seeded the ground in "Zeros and Ones, Digital Women and the New Technoculture" [5]

Definition

Cyberfeminism is an alliance that seeks awareness to defy any sort of boundaries of identity and definition be truly postmodern in its potential for radical openness. This is seen with the 1997 Old Boys Network's 100 anti-theses which lists the 100 ways "cyberfeminism is not."[6] Cornelia Sollfrank from the Old Boys Network states that:[7]

Cyberfeminism is a myth. A myth is a story of unidentifiable origin, or of different origins. A myth is based on one central story which is retold over and over in different variations. A myth denies one history as well as one truth, and implies a search for truth in the spaces, in the differences between the different stories. Speaking about Cyberfeminism as a myth, is not intended to mystify it, it simply indicates that Cyberfeminism only exists in plural.
Mia Consalvo defines cyberfeminism as:

  1. a label for women—especially young women who might not even want to align with feminism's history—not just to consume new technologies but to actively participate in their making;
  2. a critical engagement with new technologies and their entanglement with power structures and systemic oppression.

The early cyberfeminist perspective takes a utopian view of cyberspace and the Internet as a means of freedom from social constructs such as gender, sex difference and race. For instance, a description of the concept described it as a struggle to be aware of the impact of new technologies on the lives of women as well as the so-called insidious gendering of technoculture in everyday life.[8] It also sees technology as a means to link the body with machines. This is demonstrated in the way cyberfeminism—as maintained by theorists such as Barbara Kennedy—is said to define a specific cyborgian consciousness concept, which denotes a way of thinking that breaks down binary and oppositional discourses.[9] There is also the case of the renegotiation of the artificial intelligence (AI), which is considered top-down masculinist, into bottom-up feminized version labeled as ALife programming.[10]

In "Cyberfeminist Bed Sheet Flown as a Flag" (2018–19) Linda Dement and Nancy Mauro-Flude devised a performance of the bed-sheet-flag, unfurling ribbons of quotes from the stains of their sisterhood kin: "A genealogical record, it bears smears and stains from productive encounters, convergences and brush pasts. The sheet has been endlessly folded, scrunched, wrung out or smoothed flat in spawning, connecting and adulterating across feminist time and creative persuasions." Initially Dement mapped a non-linear terrain of punk, cyberfeminism, rebellious abberation and corporeal digital transgression as a rumpled unclean bedsheet.[11]

Authors Hawthorne and Klein explain the different analyses of cyberfeminism in their book: "Just as there are liberal, socialist, radical and postmodern feminists, so too one finds these positions reflected in the interpretations of cyberfeminism."[12]

VNS Matrix member Julianne Pierce defines cyberfeminism: "In 1991, in a cozy Australian city called Adelaide, four bored girls decided to have some fun with art and French Feminist theory... with homage to Donna Haraway they began to play around with the idea of cyberfeminism."[13]

Sadie Plant much more viewed Cyberfeminism as a project which sought to uncover the history linking femininity and technology and how traits which were feminine were both useful to technology while still being in the same historical position as technology, objectified and to serve the ends of men, but for Plant this is where the future leads, towards technology and the abandoning of man, while women and technology go hand in hand escaping "the meat" for Plant by making "the meat" and "the mind" the same.[15]

Theoretical background

Cyberfeminism arose partly as a reaction to "the pessimism of the 1980s feminist approaches that stressed the inherently masculine nature of techno-science", a counter-movement against the 'toys for boys' perception of new Internet technologies. According to a text published by Trevor Scott Milford,[16] another contributor to the rise of cyberfeminism was the lack of female discourse and participation online concerning topics that were impacting women. As cyberfeminist artist Faith Wilding argued: "If feminism is to be adequate to its cyberpotential then it must mutate to keep up with the shifting complexities of social realities and life conditions as they are changed by the profound impact communications technologies and techno science have on all our lives. It is up to cyberfeminists to use feminist theoretical insights and strategic tools and join them with cybertechniques to battle the very real sexism, racism, and militarism encoded in the software and hardware of the Net, thus politicizing this environment."

British cultural theorist Sadie Plant chose cyberfeminism to describe her recipe for defining the feminizing influence of technology on western society and its inhabitants.[17]

European's often cite Donna Haraway as the inspiration and genesis for cyberfeminism with her 1985 essay "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century" which was reprinted in Simians, Cyborgs and Women: The Reinvention of Nature (1991).[18] Haraway's essay states that cyborgs are able to transcend the public and private spheres, but they do not have the ability to identify with their origins or with nature in order to develop a sense of understanding through differences between self and others. Shulamith Firestone and her book The Dialectic of Sex: The Case for Feminist Revolution has been named as a precursor to Haraway's work in cyberfeminism.[19] Firestone's work focuses reproductive technology and advancing it to eliminate the connection of the feminine identity being connected to childbirth.[20] Firestone believed that gender inequality and oppression against women could be solved if the roles around reproduction did not exist. Both Firestone and Haraway had ideals based on making individuals androgynous, and both women wanted society to move beyond biology by improving technology.

Cyberfeminism is considered a predecessor to networked feminism, fourth wave feminism. Cyberfeminism also has a relationship to the field of feminist science and technology studies, Feminist Internet Theory

Timeline

1970s

Shulamith Firestone's The Dialectic of Sex: The Case for Feminist Revolution created the foundation for many cyberfeminist activities.[21] In her book, Firestone explores the possibility of using technology to eliminate sexism by freeing women from their obligation to carry children in order to create a nuclear family. In many ways, this can be seen as a precursor to cyberfeminism because it questions the role that technology should play in dismantling the patriarchy.

1980s

Donna Haraway was the inspiration and genesis for cyberfeminism with her 1985 essay "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century", which was later reprinted in Simians, Cyborgs and Women: The Reinvention of Nature (1991).[18] Haraway's essay states that cyborgs are able to transcend the public and private spheres, but they do not have the ability to identify with their origins or with nature in order to develop a sense of understanding through differences between self and others. Haraway had ideals based on making individuals androgynous, and wanted society to move beyond biology by improving technology.

1990s

The term cyberfeminism was first used around 1991 by both the English cultural theoretician Sadie Plant and the Australian artist group VNS Matrix, independently from each other.[22]

In Canada, Nancy Paterson wrote an article entitled "Cyberfeminism" for EchoNYC in 1991.

In Adelaide, Australia, a four-person collective called VNS Matrix wrote the Cyberfeminist Manifesto in 1991; they used the term cyberfeminist to label their radical feminist acts "to insert women, bodily fluids and political consciousness into electronic spaces." That same year, British cultural theorist Sadie Plant used the term to describe definition of the feminizing influence of technology on western society.

In 1996, a special volume of Women & Performance was devoted to sexuality and cyberspace. It was a compendium of essays on cybersex, online stalking, fetal imaging, and going digital in New York.[23]

According to Carolyn Guertin, the first Cyberfeminist International, organized by the Old Boys Network in Germany, in 1997, refused to define the school of thought, but drafted the "100 Anti-Theses of Cyberfeminism" instead. Guertin says that cyberfeminism is a celebration of multiplicity.

2000s

In the late 1990s and early 2000s, cyberfeminist theorists and artists incorporated insights from postcolonial and subaltern studies about the intersection of gender and race, inspired by thinkers such as Donna Haraway and Gayatri Spivak. Artists such as Coco Fusco, Shu Lea Cheang, and Prema Murthy, explored the ways that gender and race by combining performance art, video art, and with the then-emerging technologies of interactive websites, digital graphics, and streaming media.[24]

In 2003 the feminist anthology was published; it includes the essay "Cyberfeminism: Networking the Net" by Amy Richards and Marianne Schnall.[25]

2010s

Usage of the term cyberfeminism has faded away after the millennium, partly as a result of the dot.com bubble burst that bruised the utopian bent of much of digital culture. Radhika Gajjala and Yeon Ju Oh's Cyberfeminism 2.0 argues that cyberfeminism in the 21st century has taken many new forms and focuses on the different aspects of women's participation online. It also includes the promotion of feminist ideals on more modernized technology. This included the emergence of several feminist blogs. They find cyberfeminists in women's blogging networks and their conferences, in women's gaming, in fandom, in social media, in online mothers' groups performing pro-breastfeeding activism, and in online spaces developed and populated by marginal networks of women in non-Western countries.[26]

While there are writing on black cyberfeminism which argue that not only is race not absent in our use of the internet, but race is a key component in how we interact with the internet.[27] However, women of colour generally do not associate with cyberfeminism,[28] and rather re-frame africanfuturism, afrofuturism in feminist terms.[29]

The decline in the volume of cyberfeminist literature in early 2010s would suggest that cyberfeminism has somewhat lost momentum as a movement; however, it's explosion in terms of artists and artworks, not only is cyberfeminism still taking place, but its artistic and theoretical contribution has been of crucial importance to the development of Feminist Internet Theory[30] .[30] And the many handed shiva of posthuman aesthetics.[31]

Xenofeminism

See also: Postgenderism. Xenofeminism, or the movement that incorporates technology into the abolition of gender, is a concept that is intersectional to cyberfeminism. It is an offshoot of cyberfeminism established by the feminist collective Laboria Cuboniks.[32] In its manifesto, Xenofeminism: A Politics for Alienation, the collective argues against nature as desirable and immutable in favor of a future where gender is dislodged from power and in which feminism destabilizes and uses the master's tools for its own rebuilding of life. The movement has three main characteristics: it is techno-materialist, anti-naturalist, and advocates for gender abolition. This means that the movement contradicts naturalist ideals that state that there are only two genders and aims toward the abolition of the "binary gender system". Xenofeminism differs from cyberfeminism because while it has similar ideals, it is inclusive to the queer and transgender communities.[33] The manifesto states:[34]

Xenofeminism is gender-abolitionist. 'Gender abolitionism' is shorthand for the ambition to construct a society where traits currently assembled under the rubric of gender, no longer furnish a grid for the asymmetric operation of power. 'Race abolitionism' expands into a similar formula – that the struggle must continue until currently racialized characteristics are no more a basis of discrimination than the color of one's eyes. Ultimately, every emancipatory abolitionism must incline towards the horizon of class abolitionism, since it is in capitalism where we encounter oppression in its transparent, denaturalized form: you're not exploited or oppressed because you are a wage labourer or poor; you are a labourer or poor because you are exploited.[34]

Critiques

Many young amateur critiques of cyberfeminism have focused on its lack of intersectional focus, its utopian vision of cyberspace, but instead of encouraging cyberstalking and cyber-abuse,[35] which often seems to portray a gamergate style whiteness and elite community building this is very far from the actual movement.[36]

One of the major critiques of cyberfeminism, especially as it was in its heyday in the 1990s, was that it required economic privilege to get online: "By all means let [poor women] have access to the Internet, just as all of us have it—like chocolate cake or AIDS," writes activist Annapurna Mamidipudi. "Just let it not be pushed down their throats as 'empowering.' Otherwise this too will go the way of all imposed technology and achieve the exact opposite of what it purports to do."

Art and artists

The practice of cyberfeminist art is inextricably intertwined with cyberfeminist theory. The 100 anti-theses make clear that cyberfeminism is not just about theory, while theory is extremely important, cyberfeminism requires participation. As one member of the cyberfeminist collective the Old Boys Network[37] writes, cyberfeminism is "linked to aesthetic and ironic strategies as intrinsic tools within the growing importance of design and aesthetics in the new world order of flowing pancapitalism".[7] Cyberfeminism also has strong connections with the DIY feminism movement, as noted in the seminal text DIY Feminism,[38] a grass roots movement that encourages active participation, especially as a solo practitioner or a small collective.

Around the late 1990s several cyberfeminist artists and theorists gained a measure of recognition for their works, including Linda Dement and the above-mentioned VNS Matrix their Cyberfeminist Manifesto for the 21st century,[39] and Faith Wilding and Critical Art Ensemble. Some of the better-known examples of cyberfeminist work include Auriea Harvey's work, Sandy Stone, Nancy Paterson,[40] Linda Dement's Cyberflesh Girlmonster[41] a hypertext CD-ROM that incorporates images of women's body parts and remixes them to create new monstrous yet beautiful shapes; Melinda Rackham's Carrier, a work of web-based multimedia art that explores the relationship between humans and infectious agents;[42] Prema Murthy's 1998 work Bindigirl,[43] a satirical Asian porn website that examines the intersection of racialized gender, sexuality, and religion online; Murthy's 2000 project Mythic Hybrid,[44] based on reports of mass hysteria among microchip factory workers in India; Shu Lea Cheang's 1998 work Brandon, which was the first Internet based artwork to be commissioned and collected by the Guggenheim.[45] A later work of Cheang's, I.K.U. (2001), is a sci-fi pornographic film that imagines a cybersexual post-Blade Runner universe, where sexual encounters with feminine, shapeshifting "replicants" are distilled and collected for resale, and ultimately reuse. I.K.U. was the first pornographic film to screen at Sundance.[46] Dr. Caitlin Fisher's online hypertext novella "These Waves of Girls" is set in three time periods of the protagonist exploring polymorphous perversity enacted in her queer identity through memory. The story is written as a reflection diary of the interconnected memories of childhood, adolescence, and adulthood. It consists of an associated multi-modal collection of nodes includes linked text, still and moving images, manipulable images, animations, and sound clips. Recent artworks of note include Evelin Stermitz's World of Female Avatars in which the artist has collected quotes and images from women over the world and displayed them in an interactive browser based format, and Regina Pinto's Many Faces of Eve.[47] Orphan Drift (1994-2003) were a 4.5 person collective experimenting with writing, art, music and the internet's potential "treating information as matter and the image as a unit of contagion."[48]

Listserves

An important part of the generation of cyberfeminist theory and critique was the emergence of a few critical listserves that served as the basis for the organization of three international cyberfeminist events and several major publications.

Notable theorists

See also

Further reading

External links

100 anti-theses

Notes and References

  1. Dement . Linda . 2017 . Cyberfeminist bedsheet . Artlink . 37 . 4 . 21 October 2020 . 25 September 2020 . https://web.archive.org/web/20200925003745/https://www.artlink.com.au/articles/4647/cyberfeminist-bedsheet/ . live .
  2. Web site: 2018-01-16 . A Cyberfeminist Manifesto for the 21st Century ⁄ VNS Matrix . 2024-02-01 . VNS Matrix . en-AU . 2024-04-25 . https://web.archive.org/web/20240425073725/https://vnsmatrix.net/projects/the-cyberfeminist-manifesto-for-the-21st-century . live .
  3. Book: Couey, Anna . Women, art, and technology . 2003 . MIT Press . 978-0-262-13424-8 . Malloy . Judy . Leonardo . Cambridge, MA . Restructuring Power: Telecommunications Works Produced by Women.
  4. Book: Paasonen, Susanna . Figures of fantasy: internet, women & cyberdiscourse . 2005 . Peter Lang . 978-0-8204-7607-0 . Digital formations . New York.
  5. Book: Plant . Sadie . Zeros and Ones, Digital Women and the New Technoculture . 1995 . Doubleday . New York . 0385482604 . 2024-08-05 . 2024-05-08 . https://web.archive.org/web/20240508012636/https://www.sadieplant.com/publications . live .
  6. Web site: old boys network. obn.org. 2018-07-31. 2018-01-19. https://web.archive.org/web/20180119184049/http://obn.org/inhalt_index.html. dead.
  7. Web site: The truth about cyberfeminism. Sollfrank. Cornelia. obn.org. The Old Boys Network. 2014-02-07. 2014-04-25. https://web.archive.org/web/20140425141930/http://www.obn.org/reading_room/writings/html/truth.html. dead., also available as: Web site: The truth about cyberfeminism. Sollfrank. Cornelia. constantvzw.com. Constant Association for Media and Art. 2007-06-22. https://web.archive.org/web/20071007124621/http://www.constantvzw.com/e12/nl/corsolnl.html. 2007-10-07. dead. See also:
  8. Book: Grenville, Bruce. The Uncanny: Experiments in Cyborg Culture. arsenal pulp press. 2001. 9781551521169. Vancouver. 189. en.
  9. Book: A History of Feminist Literary Criticism. Plain. Gill. Sellers. Susan. Cambridge University Press. 2007. 9780521852555. Cambridge, UK. 327.
  10. Book: Kember, Sarah. Cyberfeminism and Artificial Life. Routledge. 2003. 978-0415240260. London. 7.
  11. Web site: Linda Dement - Cyberfeminist Bedsheet . 2024-08-05 . 2024-04-04 . https://web.archive.org/web/20240404144702/https://lindadement.com/cyberfeminist-bedsheet.htm . live .
  12. Preview.
  13. Book: Sollfrank, Cornelia. First Cyberfeminist International. obn. 1998.
  14. Rosser. Sue V. . Through the lenses of feminist theory: focus on women and information technology . . 26 . 1 . 1–23 . 10.1353/fro.2005.0015 . 4137430 . 2005 . 144999759 .
  15. Seduced & Abandoned: The Body in the Virtual World - The Feminine Cyberspace . English . 2023-09-13 . Video . 2023-10-15 . https://web.archive.org/web/20231015122500/https://www.youtube.com/watch?v=doL9mRMEUGw . live .
  16. Book: j.ctt15nmj7f.6 . free . Revisiting Cyberfeminism. Milford. Trevor Scott. eGirls, eCitizens: Putting Technology, Theory and Policy into Dialogue with Girls' and Young Women's Voices . 2015. 55–82. University of Ottawa Press.
  17. Book: The most radical gesture: the Situationist International in a postmodern age. Plant, Sadie. 2006. Routledge. 978-0415062213. 814233726.
  18. Book: Cybersexualities: a reader on feminist theory, cyborgs, and cyberspace. 1999. Edinburgh University Press. Wolmark, Jenny. 978-0748611171. 42579667.
  19. Halbert. Debora. 2007-02-17. Shulamith Firestone. Information, Communication & Society. 7. 115–135. en. 10.1080/1369118042000208933. 147255598.
  20. Book: Cyberfeminism: Connectivity, Critique and Creativity. Hawthorne. Susan. Klein. Renate. 1999. Spinifex Press. 978-1-875559-68-8. en.
  21. Halbert. Debora. 2004-01-01. Shulamith Firestone. Information, Communication & Society. 7. 1. 115–135. 10.1080/1369118042000208933. 147255598. 1369-118X.
  22. Web site: Revisiting the Future transmediale. transmediale.de. 2020-04-21. 2020-03-14. https://web.archive.org/web/20200314110033/https://transmediale.de/content/revisiting-the-future. live.
  23. [untitled table of contents] ]. Women & Performance . 9 . 1 . 2018-07-31.
  24. See "Shu Lea Cheang on Brandon - Rhizome.org interview "; "Bindigirl - Rhizome.org Interview with Prema Murthy "; Dennis, Kelly, "Gendered Ghosts in the Globalized Machine: Coco Fusco and Prema Murthy," n.paradoxa vol. 23 (2009), pp. 79-86.
  25. Book: Sisterhood is forever: the women's anthology for a new millennium. Morgan, Robin. 2003. Washington Square Press. 978-0743466271. 51854519. registration.
  26. Book: Cyberfeminism 2.0. 2012. Peter Lang Pub. Gajjala, Radhika . Oh, Yeon Ju. 9781433113598. New York. 752472588.
  27. Daniels. Jessie. 2009. Rethinking Cyberfeminism(s): Race, Gender, and Embodiment. Women's Studies Quarterly. 37. 1/2. 101–124. 27655141. 10.1353/wsq.0.0158. free.
  28. Black Cyberfeminism: Ways Forward for Classification Situations, Intersectionality and Digital Sociology . SocArXiv . Cottom. Tressie McMillan. Tressie McMillan Cottom. 2016-12-07. 10.31235/osf.io/vnvh9. 2018-07-31.
  29. Morris. Susana M.. 2013. Black Girls Are from the Future: Afrofuturist Feminism in Octavia E. Butler's Fledgling. WSQ: Women's Studies Quarterly. 40. 3. 146–166. 10.1353/wsq.2013.0034. 85289747. 1934-1520.
  30. Mauro-Flude . Nancy . Writing the Feminist Internet: a Chthonian Feminist Internet Theory for the twenty first century . Continuum . 2021 . 35 . 5 . 788–804 . 10.1080/10304312.2021.1983260.
  31. Olszanowski. Magdalena. 2014-04-03. Feminist Self-Imaging and Instagram: Tactics of Circumventing Sensorship. Visual Communication Quarterly. 21. 2. 83–95. 10.1080/15551393.2014.928154. 145667227. 1555-1393.
  32. Book: Xenofeminism. Hester, Helen. 9781509520626. Cambridge. 992779765. 2018-05-29.
  33. Kay . Jilly Boyce . 2019-02-17 . Xenofeminism . Feminist Media Studies . 19 . 2 . 306–308 . 10.1080/14680777.2019.1579983 . 1468-0777 . 216643183.
  34. Web site: Cuboniks . Laboria . Xenofeminism: A Politics for Alienation . 2022-06-27 . Laboria Cuboniks . en-EN . 2022-06-24 . https://web.archive.org/web/20220624010142/https://laboriacuboniks.net/manifesto/xenofeminism-a-politics-for-alienation/ . live .
  35. Gilbert. Pamela. January 1996. On sex, cyberspace, and being stalked. Women & Performance: A Journal of Feminist Theory. 9. 1. 125–149. 10.1080/07407709608571254. 0740-770X.
  36. Nakamura. Lisa. Lovink. Geert. 2005. Talking Race and Cyberspace: An Interview with Lisa Nakamura. Frontiers: A Journal of Women Studies. 26. 1. 60–65. 10.1353/fro.2005.0014. 144852309. 1536-0334.
  37. Web site: Home page. obn.org. Old Boys Network. 2007-06-22. 2008-12-20. https://web.archive.org/web/20081220094727/http://www.obn.org/. live.
  38. Book: Bail, Kathy. DIY feminism. Allen & Unwin. 1996. 9781864482317. St Leonards, NSW.
  39. Pierce. Julianne. 1998. info heavy cyber babe. First Cyberfeminist International. https://web.archive.org/web/20170208064706/http://www.obn.org/obn_pro/downloads/reader1.pdf. 8 February 2017.
  40. Book: M. Merck. S. Sandford. Further Adventures of The Dialectic of Sex: Critical Essays on Shulamith Firestone. 13 September 2010. Palgrave Macmillan US. 978-0-230-10999-5. 75–.
  41. Web site: Cyberflesh Girlmonster 1995. Dement. Linda. lindadement.com. 2007-06-22. 2020-12-03. https://web.archive.org/web/20201203025315/http://www.lindadement.com/cyberflesh-girlmonster.htm. live.
  42. Barnett. Tully. July 2014. Monstrous agents: cyberfeminist media and activism. . 5. 2014-10-07. 2014-10-10. https://web.archive.org/web/20141010204819/http://adanewmedia.org/2014/07/issue5-barnett/. live.
  43. https://rhizome.org/art/artbase/artwork/bindigirl/ Bindigirl
  44. A video document of the project is hosted by Turbulence.org.
  45. Web site: Review of Brandon 1998–99, by Shu Lea Cheang. Jones. Caitlin. Guggenheim Museum. https://web.archive.org/web/20160420091516/http://www.guggenheim.org/new-york/collections/collection-online/artwork/15337. 20 April 2016. 8 February 2017. January 1998.
  46. News: 'Bodies are packages made to be opened': Shu Lea Cheang's 'I.K.U.' (2000). Rhizome. 2018-11-14. 2018-11-14. https://web.archive.org/web/20181114060424/http://rhizome.org/editorial/2015/may/26/iku-experience-shu-lea-cheang-phenomenon/. live.
  47. Stermitz. Evelin. 2008-10-23. World of Female Avatars: An Artistic Online Survey on the Female Body in Times of Virtual Reality. Leonardo. 41. 5. 538–539. 1530-9282. 10.1162/leon.2008.41.5.538. 57567515. 2018-08-06. 2018-08-07. https://web.archive.org/web/20180807001631/https://muse.jhu.edu/article/251322. live.
  48. Web site: Orphan Drift – Monoskop. monoskop.org. 2018-08-03. 2018-08-07. https://web.archive.org/web/20180807001552/https://monoskop.org/Orphan_Drift. live.
  49. Web site: FACES story . February 1, 2014 . https://web.archive.org/web/20130928181600/http://faces-l.net/en/content/faces-storyhtml.html . September 28, 2013 . dead .