In Search of Digital Feminisms: Digital Gender & Aesthetic Technology

What is it that influences girls’ choices of new technology? How is digital creativity affected by gender norms? “Digital Gender & Aesthetic Technology” aims to make visible females as creative developers of the Internet and new technology, through interviews with students, artists, project managers, and entrepreneurs. The prevailing social norms appear to be reflected on the Internet as “digital gender norms,” where girls and boys prefer apparently different communication tools. While working with the question of “digital gender,” I have developed the hypothesis of “Aesthetic Technology,” namely that girls often have an artistic approach towards technology. Girls mainly learn technology for a personal reason, planning to create something once they have learned the technique, and their goal often have aesthetic preferences. The question of girls “becoming technical,” is more complicated than one might first think, in relation to gender. Even though young girls are often just as interested in technology as young boys are, it is difficult for them to keep or adapt their technical interest to normative femininity in their teens. Another problem is that expressions of technical competence or innovation, which do not correspond to the predominant male norm, might be hard to recognize. Females who study within the field of creative digital technology often begin their career by struggling with questions of equality, instead of just practicing their profession.

BOT I

“BOT I” is a radical monologic mash-up of autobiographical material from Pilar’s childhood in a computing family and her passions for and against technology, cut in and through the texts of Samuel Beckett’s “Not I” and Isaac Asimov’s I Robot. This article includes the script of the performance Pilar presented at the Radical Philosophy Association Conference in Eugene, Oregon on November 13, 2010 and images from a 2011 performance. Ruthless in its refusal of all gentility and tact, and insistent in its feminist critique, Pilar’s script reveals the blind spots that capitalist techno-culture reserves for ethics and the body.

Culture Industries: Critical Interventions

This thread presents a different agenda for studying culture and the culture industries in particular, one that is grounded in a distinctly cultural studies materialist reflexivity. Cultural studies is probably best understood as the politically committed, theoretically grounded, and radically self-reflexive and historical-materialist analysis of cultural processes and practices, where the commitment to imagine a humane, socialist society has always been a guiding assumption in the field from its early formations in post-war Britain.