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The above link redirects to the survey I conducted to study my target audience's response, and further interview few people about their stories and their interactions with digital objects and cyberspace.

I received about 20 responses and interviewed four people and collected meaningful and emotionally vibrant stories of sharign spaces online.

I aim to convert these stories into an illustrated book and riso print them for my final outcome.

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Hi everyone,

My name is Yashika and I am in MA IED. I am currently researching digital objects, and how they facilitate human interactions and expression. My primary methodology of approaching this subject is through story-telling. It would be lovely if you could fill out this brief survey and share your stories with digital objects.

Thank you!
For the scope and understanding of this survey, digital objects, as defined by Yuk Hui, are "Examples of such objects include - contact info on phones, memes, screenshots, mobile apps like spotify, notes app, Instagram reels, etc. objects that take shape on a screen or hide in the back end of a computer program, composed of data and metadata regulated by structures or schemas."

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Hi everyone, My name is Yashika and I am in MA IED. I am currently researching digital objects, and how they facilitate human interactions and expression. My primary methodology of approaching this subject is through story-telling. It would be lovely if you could fill out this brief survey and share your stories with digital objects.

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Kindly click on the above link to listen to the audio documentation of the workshop.

The premise of the workshop was to reconsider our relationships with digital and physical artefacts.

The participants (5 IED students) were invited to write a narrative based on a dialogue between a physical artefact they cherished, or had an emotional connection with. Each participant then shared their dialogues, while the others tried to guess what their artefact could be based on their description. The discussion followed interesting insights into how we view these artefacts as an extension of memory and embodiment of the people that we share this memory with.

The participants were then asked to perform the same activity of creating a dialogue but this time between them and their cherished digital object. The shared experiences were fun and insightful. Some wrote about their favourite memes, some about a photograph they edited on their phones.

The workshop concluded with everyone comparing the two experiences and describing how writing a narrative for the digital object was slightly more difficult when compared to the physical one, while at the same time they ahve strong connections with the digital artefacts as well.

This helped me in situating my conceptual framework and working towards building alternative narratives so people can be prompted to questions their relationships with digital spaces and artefacts more readily and effectively.

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Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

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I particularly studied Cwyner's film 'Glass Life' for its representations of the 'cyborgian' identity that is assimilated into the screen but is commented upon from behind the screen.

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The influence of technology and vested interests of corporate agendas is visualised in Sara Cwynar's latest work

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The Canadian photographer observes her own life to explore the commodification of our personal data and way of being

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A surrealistic horror-comedy that has visually inspired the world of 'Interland'.

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HOUSE (1977) Trailer - The Criterion Collection

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Mindy Seu is a New York-based designer and technologist who has spent her career working with digital archives - and now, she's made one of her own. The Cyberfeminism Index is a compendium of cyberfeminist works from the 1980s to the present day. Appropriately, it first came into being in 2019 as a Google Sheet that went viral, before metamorphosing into a website, and now a book.

Cyberfeminism is a word that links many people who write, think, and make art about the internet, from a feminist perspective. When I asked Seu to define it, she offered the elusive response that "everyone has a different definition of cyberfeminism" which only opened further questions in my mind. Despite its unresolved state, one thing is clear: cyberfeminism is of utmost importance. In an era where the wild growth of the web is choked out by social media-walled gardens, we need ways to talk about our digital experiences - both for fending off corporate control and envisioning alternate futures.

With Cyberfeminism Index , Seu has made something of a canon for anyone who wants to get up to speed, featuring mainstays like Donna Harraway, VNS Matrix, Sadie Plant, and Radhika Gajjala, but she stresses that cyberfeminism itself is in a constant state of flux. It lends institutional validation to works that might have otherwise disappeared into the noise of information overload. A hefty tome; not quite a Bible, but an archive - and a beautiful one at that.
What inspired you to make an index for cyberfeminism?
Mindy Seu: I've always leaned on spreadsheets as a way to organise my thoughts, as a journal, event planner, or resource guide for myself. But as I searched for net artworks or writings on critical technologies, I found it really difficult to find more information. This was surprising because people in my own community were so active in this space, so I was inspired to make this resource compendium for them and myself. When I shared it with people to see if they had something to add, the list went mini-viral, and everything snowballed from there.
Do you feel like being able to share information via digital spreadsheets has unique potential?
Spreadsheets have been around almost since we've had the ability to write. Think about clay tablets; they've long been a form of record keeping. Now with Google Drive and other cloud-based tools, they're so easy to share. People have started using spreadsheets in unusual and unintended ways, from diaries, timelines, or multi-tab publications that are open access. Spreadsheets can be quite personal, too.
There have been a lot of viral spreadsheets in the past few years. What was that popular one - the problematic media men?
Mindy Seu: Yes! They've become a beacon for calls to action. This really boomed during the pandemic and Black Lives Matter. Info-activism became another form of protest - people compiled and allocated lists of resources or even Google Drive folders full of PDFs and readings. It was completely open source, and it felt like a grassroots public library.
The first time I interacted with your Cyberfeminism Index, it was no longer a spreadsheet. It was a website. What was the process of making the website like?
Mindy Seu: I worked with my good friend, Angeline Meitzler. We were really thinking about two primary questions. First, how do we visualise citations? And second, how do websites age?
I like the experience of using it. It feels very natural. I know it wasn't intended to be nostalgic, but it made me think of my time on various GeoCities sites.
Many of the websites that I tried to include, whether they were educational or artworks, had degraded. Because of this, many of the websites in the Index link back to preservation tools or digital emulators like the Internet Archive's Wayback Machine or Rhizome's Conifer. However, the sites that stood the test of time, nearly three decades later, were static sites using HTML and CSS without the use of third-party libraries or novel scripts. Whether it was intentional or not, those websites seem to be future-proofed. Because of this, our website looks a bit like a Web 1.0 static site. That design decision wasn't meant to feel nostalgic - it instead refers to what we learned from those sites that manage to live on today. So as long as I keep renewing that domain, it will stay online, hopefully for the foreseeable future.
How did you feel about the process of translating this website into a physical book?

'Everyone has heard the warning that if you put something online, it'll be there forever. But sometimes [they] die, or we're so inundated with content that you're no longer able to find it. Because there's just content' - Mindy Seu

People have this idea of the internet being forever, but if you've ever spent time clicking on old links, or visiting old sites, it's evident that websites are a very ephemeral medium.
Mindy Seu: Totally, it does feel like a throwback to those platforms. But as you interact with the site, these conventions become unusual. Buttons grow, text glows green. As you click through each of the entries, they're added to the side panel or what we call the "trail." It's a record of how you're surfing, thus creating associative links. Afterwards, you're able to download your selections as a custom PDF reader. We don't store any of that information on the backend; it's a selection only for the reader. I'm fairly pro-piracy and many digital archivists believe duplication is essential for longevity.

Mindy Seu: Working in online spaces for so long, I've seen how quickly these websites end up with link rot. Books tend to have more posterity. It also felt like a hack - in certain academic writings, citations or sources are weighted depending on where they're from or who wrote them. Some systems weight citations of printed matter higher than digital matter or new media because it's considered more legitimate. It's a form of gatekeeping. The book also acts as a document or snapshot of the online index, a living complement that'll continue to grow. The hard copy of the soft copy. I've always felt like books and websites are very complementary.
Information overload is a sort of psychological warfare. Russia and the US and probably China all seem to use it as propaganda, as a population control mechanism.
Mindy Seu: Absolutely. I'm sure everyone has heard the warning that if you put something online, it'll be there forever. Sometimes that's the case. But sometimes two other things happen. One, website lifespans are only a couple of years on average; so it'll most likely die. Or, two, it may stay online, but we're so inundated with content that you're no longer able to find it. Because there's just content. Information overload can also be a form of opacity or erasure.
Do you feel like cyberfeminism has shifted a lot over the years? What's your take on its birth, and how it has evolved?

Mindy Seu: It's also representative of what information is overloaded, so others are buried. That seems to be quite strategic as well.

There has always been a feminist lens of new technologies. People were doing this in the 50s, 60s and 70s. However, the Index starts around 1991 when "cyberfeminism" was coined simultaneously by Mindy Seu: VNS Matrix, an Australian art collective, and Sadie Plant, a British cultural theorist. It's a commentary on how marginalised people could envision what cyberspace or techno-utopia could be. Prior to this, the mainstream understanding of techno-utopia was driven by "hard" science fiction novels written by men. They focus on toys of the future and treat women as objects or assistants, cyberbabes or femme bots. It was a very two-dimensional view of cyberspace.

M any cyberfeminists in the early 90s were citing Donna Haraway's A Cyborg Manifesto . There were experimental net art sites and static web pages. Much of it was educational, explaining how to get online. At this time, commonly called Web 1.0, personal computing and access to the internet were not widespread. To this day, up to 40 per cent of people in the world do not have access to the internet. That limits how we might think about this "ubiquitous" tool.

During the shift into Web 2.0 and the rise of platforms, the internet started to feel a bit more templated. People were no longer coding and publishing their own websites; they were using pre-existing pages on websites to publish materials. The focus shifted to content. There was more hashtag activism, more social media activism. People could find others that were thinking about similar things, even without close proximity. Social media became a way to aggregate these various online movements. The internet then became extremely commodified through platform oligopolies and we saw widespread disillusionment about the internet's potentials.
Do you feel like cyberfeminist theory has shifted over the years from an optimistic vision of technology to anti-surveillance and anti-capitalism?
Now, as we segue into Web 3.0, there's a shift away from a screen-based internet towards a physical one, as well as towards economy and ecology. The internet and its infrastructure have a massive environmental impact. Cyberfeminists push back against commodification and colonisation, creating new avenues for resource allocation. It's fascinating to see these different waves. It also differs depending on the region, because cyberfeminism in the US is different from cyberfeminism in Latin America or in East Asia. The book tries to map out these very rhizomatic threads.
What do you think is the future of cyberfeminism?

'For better or for worse, scepticism and dystopic leanings have increased. That said, there are definitely pockets of people who feel that work can be done, and that the internet can be salvaged'

Mindy Seu: In the broadest overview, it has shifted from the promise of utopia towards dystopia. It's now mainstream to see the dystopian uses of these tools; my mum mentioned something about tracking and I was amazed that it even crossed her mind. The danger here becomes the appropriation of activism as an advertising tool, like Apple's privacy campaign. For better or for worse, scepticism and dystopic leanings have increased. That said, there are definitely pockets of people who feel that work can be done, and that the internet can be salvaged. I would agree with that.

Mindy Seu: It's exciting and eye-opening because everyone has a different definition of cyberfeminism. It has always had a multiplicity of voices. Cyberfeminism feels like a co-authored, rhizome that is built by the people who need it. For our opening of the WETWARE exhibition at Feral File , Amy Ireland interviewed Shu Lea Cheang about this, who answered using the language of the pandemic, of virality. She said, "The mutation is the most normal process in our proceedings; the way we perceive the world should always be in mutation. Maybe the next generation of cyberfeminism doesn't need to be named: neither cyber, neither feminism, but definitely mutating. When you talk about a mutating medium, do you still use the same name? Or do you call it C.F. Variant 10.0?" I thought this framing was very generative.

I wonder how we can think about variances, about mapping multiple legs and observing how they evolve and continue to branch. This language of mutation has been embraced in a lot of the cyberfeminists' work. This is my roundabout way of saying cyberfeminism does not have a singular definition, but it will always exist.

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Mindy Seu: cyberfeminism 'has shifted from utopia to dystopia'

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Liara Roux talks to the New York-based writer about her new book, The Cyberfeminism Index - a comprehensive study of the radical online movement, tracing the work of Donna Harraway, VNS Matrix and Sadie Plant

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REVISITNG CRITIQUES ON ALICE IN WONDERLAND TO BUILD AN ABSURDIST INSPIRED NARRATIVE

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REVISITNG CRITIQUES ON ALICE IN WONDERLAND TO BUILD AN ABSURDIST INSPIRED NARRATIVE

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A new exhibition explores the book's long afterlife.

Lately, when I can't sleep, I take a book to the sofa and turn on a reading lamp. Insomnia is lonely-and often infuriating-and it's a comfort to look at words on a page. Generally, the duller the words the better. In the long predawn hours, I've read histories of very old buildings; minor gods; remote, half-forgotten conflicts-and retained practically nothing. But retention is not the point. If you wait long enough-if you are tired enough-something magical will unfold. The sentences will begin to bend and blur together. They will filter into your dreams in surreal, and not unpleasant, ways. At a certain hour, reading becomes a psychedelic experience.

This is especially true of Lewis Carroll's still trippy " Alice's Adventures in Wonderland," from 1865, and its even odder sequel, " Through the Looking-Glass, and What Alice Found There"-both of which I've been reading late at night. In the morning, when other books have had their coffee and sobered up, Carroll's works remain dreamlike and stubbornly nonsensical. "Down, down, down. Would the fall never come to an end?" Carroll writes, as Alice plunges down the rabbit hole. The hole is lined with shelves (naturally), and she plucks a jar of orange marmalade from one as she passes. "I wonder if I shall fall right through the earth!" she frets. "How funny it'll seem to come out among the people that walk with their heads downwards!"

The origins of Alice's tumble into Wonderland and its long cultural afterlife-everything from Carroll's tentative first sketches to cheery, Alice-themed advertisements for Guinness and tomato juice produced a hundred years later ("Welcome to a Wonderland of good drinking!")-are the subject of a beguiling new exhibition, "Alice: Curiouser and Curiouser," at the Victoria and Albert Museum, in London. I visited recently. Slipping inside a museum after months of the U.K.'s strict lockdown felt, even masked and distanced, like a revelation; everyone there was buzzing. The show begins down, down in the vast subterranean space of the Sainsbury Gallery, inside a room filled with the sounds of oars hitting the water. It is meant to evoke the now famous day that Charles Lutwidge Dodgson, who later adopted the pen name Lewis Carroll, rowed up the Thames with his friend Robinson Duckworth and the three Liddell sisters, who were neighbors of his: Lorina, Alice, then ten, and Edith. The legend goes like this: one blazing-hot day on the river, the children demanded entertainment and Dodgson obliged, spinning a fantastical tale as they went along. (The real story may be less neat: the weather on July 4th, 1862, the day of the boat trip, was "cool and rather wet," according to some sources.) Alice asked Dodgson to write the story down for her, and, on Christmas, 1864, he handed her the finished manuscript, then called "Alice's Adventures Under Ground." He was meticulous; it had no mistakes. The last page featured a small photo of Alice's face and, underneath, a portrait of her that Dodgson had drawn by hand.

Dodgson's original manuscript, on loan from the British Library, is a strikingly beautiful and strange object, the cover decorated with a border of unruly wildflowers, like an overgrown garden. Carefully hand-lettered and illustrated by Dodgson in fine, spindly pen, the care he has taken in weaving the drawings into the minute text is evident. ("What is the use of a book," Alice wonders early in the tale, "without pictures or conversation?") The dedication, embellished with curling green vines, reads, "A Christmas Gift to a Dear Child in Memory of a Summer Day." When I saw the show, which runs until the end of December, the little book had been flipped open to reveal a page featuring one of Dodgson's illustrations of Alice. In the story, she has just eaten a mysterious cake (there's a card on top, and "the words ' EAT ME ' were beautifully printed on it in large letters") and she finds herself stretching upward, her neck elongated, almost beyond the confines of the book, "like the largest telescope that ever was!" "Curiouser and curiouser!" she says.

Curious would be the way to describe the Victorians of Alice's day. The show's curator, Kate Bailey, has evoked the era's flurry of discovery and industry, its devotion to science and progress, with a carrousel of delightful oddities: an eighteen-fifties kaleidoscope, an unwieldy folding-box camera of the kind Dodgson used, the skeleton of a dodo. There's an accordion-like paper model of Hyde Park's "Great Exhibition," a manufacturing-and-design showcase that blew everyone's mind in 1851. (Dodgson called it "a sort of fairyland.") There's a fascination with childhood on display as well, which seems to have started at the top, with Queen Victoria, who had nine children; a sepia-colored photograph shows a placid child balanced on her lap. "Attitudes towards childhood changed in the 19th century," the explanatory text reads, "moving away from puritanical ideas of original sin towards associations with freedom, creativity and innocence." The Victorians were "preoccupied and fascinated by childhood, and by the child," Bailey told me, recently. "That was the moment where children's literature emerged."

The real Alice Liddell was the daughter of Henry Liddell, the dean of Christ Church college at Oxford University, where Dodgson taught mathematics. Early in the show, there's an arresting photo of Alice taken by Dodgson, in 1858. She's seated in profile and dressed like a Victorian doll: ruffled sleeves, dark bob. She looks serious and maybe a little impatient. In the course of Alice's lifetime, Dodgson photographed her many times. He lived next door-his study overlooked the garden where she played with her sisters-and was a frequent visitor at her family's home. He was obviously smitten, perhaps inappropriately so, though the nature of Dodgson's relationship with Alice is not something that the exhibition investigates. (There is no clear evidence that Dodgson crossed the line, just lingering suspicions). A single placard under a photograph of the Liddell sisters reads, "Today Dodgson's close friendship with Alice Liddell would be scrutinised, but in Victorian times it was not viewed as inappropriate for a man to befriend a younger girl." Bailey told me that she wanted to make a show about the "impact and legacy of the books, as opposed to really scrutinizing the biography of Lewis Carroll."

From a darkened room steeped in Victoriana, you turn a literal corner and find yourself in a hallway in which the walls appear to be shrinking. Or perhaps you are simply growing larger. At the end, there's a small door behind a curtain. Peek into its tiny windows and you'll see a walled garden, complete with neat hedges and pink flamingos. ("She knelt down and looked along the passage into the loveliest garden you ever saw," an inscription on the door reads.) Round another corner and there's a digital pool of tears, like the one Alice suddenly found herself swimming in (" 'I wish I hadn't cried so much!' ") From there, things only get stranger, with rooms building on one another freely, like actors in an improv class. There's a space that resembles a down-on-its-luck seaside pier, with a striped pavilion full of mirrors and backward writing. ("Who in the world am I? Ah, that's the great puzzle!") There's also an arcade-like machine with a hand crank that causes Alice to stretch comically upward. (Hand sanitizer provided.) A lazy caterpillar on stilts oversees it all.

In these rooms, we see Alice undergo transformation after transformation. She has definitely eaten something weird. There are John Tenniel's exquisite sketches for the first published version of the book, in which Alice possesses flowing pre-Raphaelite locks and an unusually large head. (The real Alice's messy brunette bob has disappeared.) She is played by a flustered teen in a ten-minute silent film by Cecil M. Hepworth and Percy Stow, from 1903. In 1933, Paramount put out a much publicized live-action "Alice" filled with stars, including W. C. Fields as Humpty Dumpty and Gary Cooper as the bumbling White Knight. (Even Cary Grant, as a nearly unrecognizable Mock Turtle, couldn't save the film; it was a box-office bomb.) The most enduring cinematic image of Alice comes, of course, from the animated Disney version, released in 1951. In development as early as 1933, the project stalled during the Second World War and hit numerous creative dead ends. (Disney rejected a treatment by Aldous Huxley for being "too literary.") The Alice that emerged-blond with a blue dress, black hairband, and perfect manners-and the bright block colors of the film come mainly from the brilliant concept artist Mary Blair, whose work is on display. Disney's Alice is sweetly affecting, but I prefer Carroll's more pointed version. Carroll's Alice is polite in a knowing, English way. Even while conversing with a strung-out caterpillar, she seems to be saying, I know that you're strange, but I won't say anything about it. It'll only embarrass us both.

Spending time with Alice, you get the sense that people make of her what they want. A bevy of surrealist artists, including Dorothea Tanning and Max Ernst, were drawn to the darker strands of the books-Alice's disorientation, the unyielding nonsense of it all-and they painted disturbing pictures of her wandering flower-strewn hallways, hair on end, or embedded in solid rock. (Tanning's splendid "Eine Kleine Nachtmusik," from 1943, appears in the catalogue, though not in the exhibition.) Salvador Dalí, once an artist-in-residence at Disney, illustrated a special edition of the tale, in 1969. His images, splashed across one gallery, are free-flowing and luminous, each with a minute ink drawing of Alice tucked somewhere in the dreamscape. (In one, "A Mad Tea Party," a tree pierces the center of a melting clock.) Members of the counterculture of the nineteen-sixties also loved Alice, and there's a photograph of Yayoi Kusama and a merry band of naked, polka-dot-covered dancers posing on the Alice sculpture in Central Park. There's a still from Jonathan Miller's 1966 BBC adaptation, in which Alice appears as a stony-faced teen-ager in a world of incomprehensible adults. (Ravi Shankar provides a dreamy, sitar-laced soundtrack.) A poster by the San Francisco printmakers East Totem West shows a grinning Cheshire cat in psychedelic colors ("We're All Mad"). On a wall nearby, there's a mesmerizing video of Grace Slick with Jefferson Airplane, belting out the lyrics to "White Rabbit." With her bracingly angelic features and deep stare, Slick looks like Alice on LSD. "One pill makes you larger, and one pill makes you small," she sings. "Go ask Alice when she's ten feet tall."

All that growing and shrinking, the mushroom-eating, the polka-dot-painting: it's enough to make you wonder what the real Alice would have thought. The exhibition includes a small picture, by an unknown photographer, of Alice Hargreaves (née Liddell) arriving by ship in New York in 1932. By that time, she was eighty and had lived a relatively quiet life in England. After leaving Oxford, she travelled around Europe with her sisters, married a cricketer, and raised three sons (one of whom she named Caryl). In 1928, she made headlines by selling the original manuscript that Dodgson had given her as a child. She was widowed and needed the money. In the photo, she is smiling, dressed jauntily in a hat and white gloves, and holds a copy of "Alice." She gamely helped promote Paramount's film, in 1933, and she never had a bad word to say about Dodgson, but it must have been a long haul. "But oh my dear I am tired of being Alice in Wonderland," she wrote to her son toward the end of her life. "Does it sound ungrateful? It is. Only I do get tired."

In the final part of the show, as Alice enters the twenty-first century, there's no sign of her influence abating. She seems to be everywhere at once. There are sublimely intricate costumes from productions at the Royal Opera House ("Alice's Adventures in Wonderland") and the National Theatre ("wonder.land"). There's Stephen Jones's Mad Hatter hat and a decadent series of Wonderland-inspired photographs by Tim Walker featuring an all-Black group of artists and celebrities. (RuPaul, on a throne of cards, is the Queen of Hearts.) Near the end of the exhibit, a little overstimulated, I sat down gratefully beneath a tangle of oversized flowers and accepted a V.R. headset for an experience titled "A Curious Game of Croquet." I fell, lurchingly, down a digital rabbit hole, looking up and around before hitting the ground. I wandered through a tiny door and into a sprawling garden. By the time I got there, nothing felt more natural to me than to be drafted into a game. I picked up a hedgehog and played.

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The Beguiling Legacy of "Alice in Wonderland"

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Anna Russell visits an "Alice in Wonderland" exhibit at the Victoria and Albert Museum, in London, and offers biographical details about Lewis Carroll and his young muse, Alice Liddell.

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Sofia CoppolaWhen did you start making art?

Sara CwynarWhen I was about twenty. I was studying English literature and had dropped out of school. But it took me years to call myself an artist; it seemed like this sacred realm that it would be presumptuous to consider myself a part of. My way into art was through design. I worked as a designer for the New York Times for a number of years and made my own work at 5am before work and every night after. I think that design is in some ways more relevant to real life than a lot of art-our experience is now processed through the heavily designed, aestheticized filters of our virtual, app-based worlds, so I'm glad I have this background. A big thread in my work is thinking about how design and advertising work, how desire gets stirred up, and how things that are heavily designed or the most in fashion are the ones that fade into obsolescence the most quickly. I love collecting and reworking those kinds of things.

To really answer these questions, around the third year of having an office job I decided I needed to be an artist as a profession, or at least to try! I thought that at least I could see if I could make it work, and if I didn't have my full brain to myself for a bit, I would always regret it.

SCoAs a kid, what were you making and was it related to what you're doing now?

SCwAs a kid I was a competitive teenage figure skater with a laser focus. It took me a long time to realize, but that's actually so relevant to what I do now. To be an artist you have to be kind of obsessive, maybe a little (or a lot!) narcissistic, willing to push yourself to extremes, obsessed with a goal that might seem insurmountable when you start-like how finishing a video feels to me when I begin. It's like being a teenager who actually thinks she's going to make it to the Olympics for figure skating. And just like anyone else, I don't want to fail, but I'm also not paralyzed by the possibility of failure because of my early experiences with it as a skater: if you jump, you can't land on your feet every time, there'll always be times when you fall. I think this is important for art, because often you're so in the middle of it, and it makes absolutely no sense from where you are, and you just have to trust that it will come together. Also, as an athlete you get addicted to focusing all of your energies on one goal, like a competition, and letting everything else fall away. In a way, it's a really simple way to live. When I'm finishing a show, I feel like there's a similar clarifying effect. I find it comforting, even though there's often a lot of stress involved.

SCoHow did you start making the layers of collage with glass? Where did that come from?

SCwI was watching all these Disney animation videos, and that's a process they used in early Disney animations to create perspective and a feeling of space: different elements of a scene-the trees, the sky, Bambi-would be placed on different layers of glass and moved to create a more realistic sense of depth. I was also trying to think at the time about making photographs that need to be photographs, that use the lens and the sense of depth that only a photograph gives, and that knead together different objects in ways that actually wouldn't make sense if you tried to paint them but are acceptable to your eyes because they have this index in the real world. I was using the glass to bring things very close to the lens and very far away, and to try to confuse the scale of familiar objects. The more I got into it, the more elaborate those constructions became. My film Glass Life [2021] is shot on many layers of glass with a camera that moves over them.

SCoWho are your favorite artists or heroes?

SCwI love Agnès Varda, Steve McQueen, Jean-Luc Godard, anyone who can kind of weave something more structural, or something that acknowledges the medium and the technology of film and photography, with a narrative or personal element into a work. That's what I try to do in my own work. I also love beauty, and play, maybe Godard and Varda do this more than McQueen. None of these artists sacrifice the look and investment in the image in order to make something more "serious" or to make a political point; the beauty is part of the politics, or part of how very serious content is delivered and absorbed, and why it needs to be a film and not an essay. That's really important to me.

SCoWhat's the best advice you've gotten, or do you have a favorite quote, or something someone told you, that sticks in your mind? I always love what Ed Ruscha said about art: that it should be "Huh? Wow." Instead of "Wow, huh?" That's always stayed in my mind.

SCwHaha, I love that quote. There are two things I think about a lot, though I can't remember who said either of them to me! First is that you can always tell when an artwork starts with an idea and is organized around that idea, no matter how far from it you get. And second is that you have to actually be making something for it to sort itself out, no matter how tempting it is to sit and think around a piece for days or weeks before doing the actual work of trying to make it. These two statements kind of contradict each other, and I think, at least for me, they guide me in making work that has two totally different sides. It's research based, but I also let intuition take over. I like to make structures that can hold in a kind of chaotic, messy working process in the studio.

Right now I'm trying to think about the second statement, because I'm actually stuck in a deep research hole but I know it's just an elaborate and sometimes punishing form of procrastination! There's this huge gap between thinking of an idea and seeing how it begins to actually work in the studio. It often has to be completely changed or thrown out, and I can be really tempted to just stay in that comfortable first zone where it's just an idea that always seems like it's going to work out.

SCODo you think about your audience, who you're making it for? Or not? If you do, does that change each time?

SCWI think of my audience in different ways every time. Sometimes they seem like this benign, generous group of viewers out there, and I'm hoping to make things that will be pleasurable for them to watch or see, and I feel like I've got it. And sometimes I can only think about the most cynical, unresponsive reactions an audience might have. Both can be generative mindsets. Especially being online, where every bit of minutia is picked apart, it can be easy to imagine a judgmental audience. At some point I just try to stop thinking about it. I'm always surprised by how much things change in meaning once they go out into the world. A big goal of mine is to take heady and political ideas about the way images work, and about the latent power dynamics in images and the media, and to rework them into photographs and films that are beautiful and accessible. Hence my obsession with Varda, or Godard, who I think did this in their own times.

SCODo you know what it's about going into it, or do you notice or figure it out later?

SCWA combo. I'm always trying to force myself to know what it's about first, but I work a lot from intuition and things change so dramatically. Often I look back on things and don't understand exactly what happened, or it almost feels like someone else made it.

SCoWhat do you hope to achieve in your work?

SCwThat's a very hard question. I mostly want to make our time more clear to us, and to make documents that will speak to how it felt to be in this time after it's over, if the documents still exist. I also have more selfish goals, like just quieting my own need to make and organize these things. Otherwise I have different goals with different works. In my last film, Glass Life, for example, I was feeling really invested in the idea of surveillance capitalism, which felt like this pressing, evil thing that I wanted to talk about in an accessible way. (I mean specifically, the way Google and other tech companies are watching and monetizing everything we do, and we have no space to live outside of a constant presence and participation. I was very moved by Shoshana Zuboff's 700-page book The Age of Surveillance Capitalism [2018].) But I also wanted to work through my own archive, and to somehow organize it all, get some perspective on it, and do this personal, very detail-oriented work in the studio alone for over a year, which is how making the film was. I was thinking about the Internet as a giant archive, and about how my own collection was a piece of that, and what it would look like if it was organized around the idiosyncracies of one person's mind. A lot of the time I'm trying to connect larger political or historical ideas to individual pictures or designed objects, to show the world in a weirder way. I guess that's the goal of most artists.

SCoWhat's your favorite and least favorite part of making your work?

SCwHands down my least favorite part is actually taking pictures! I like thinking about them, I love moving the things around that will be in them, I love planning them, I love editing them, I hate shooting them. I always feel like there's something I'm missing, or something that could have been better. And I'm often running up and down a ladder to shoot things on the floor. Oddly, I've discovered that I like it a bit better if I do it in the middle of the night, so now I shoot a lot of my photos at 2am.

SCoWhat's your ideal day?

SCwProbably just being in the studio. And it would also involve walking around New York City. Followed by a beer.

SCoDo you have a favorite museum or favorite place where you've seen art?

SCwThe Calouste Gulbenkian Museum in Lisbon, Portugal. The displays are so beautiful, they're artworks in themselves. I also love the New York Public Library Picture Collection, which feels like a museum to me. And all the museums in New York, particularly the Met and MoMA. I think you just have a special relationship with the ones you go to all the time, where you can see how the spaces change for each artist.

# data[].attributes.attachment_link.title
Sara Cwynar by Sofia Coppola | Interview | Gagosian Quarterly

# data[].attributes.attachment_link.description
Filmmaker Sofia Coppola visited the Brooklyn studio of artist Sara Cwynar to see her newest works and to take photographs. After their meeting, Coppola engaged Cwynar in a series of questions by email, covering her techniques, aspirations, and inspirations.

# data[].attributes.body
I am researching Sara Cwyner's work as my primary contemporary precedence to produce my film.

# data[].attributes.attachment_link.description
The origins of nostalgia and some theoretical foundations of photography.

# data[].attributes.attachment_link.title
PIN-UP | MINDY SEU ON CYBERFEMINISM, CODE-SWITCHING, AND DESIGN

# data[].attributes.attachment_link.description
It' s easy to forget that the word " digital" originally referred to the human hand, but Mindy Seu' s digitally oriented practice makes these origins clear. The designer, curator, and educator isn' t afraid to get her metaphorical fingers slick with technological slime as she untangles the relationships between technology, embodiment, and culture.

# data[].attributes.body
The Index that has been my starting point of every idea related to this project and has substantiated the meaning of archiving.

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# data[].attributes.headline
Researching Interviews and Lectures by Mindy Seu

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Researching Interviews and Lectures by Mindy Seu

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See all Articles
The Internet and digital technologies, from smartphones to social media, have transformed everyday life for their users, mapping and multiplying the connections one makes, be they jokes or financial transactions. Communication and capitalism have accelerated. Surveillance has become a given; data is the new currency. These changes have been so epic and so swift, normalized but not yet naturalized, and often creepily imperceptible (how apps can manipulate the human nervous system, for example), that it's been difficult to keep up with what is actually happening on a structural level, especially when an estimated 5 billion people worldwide are online to distract and overwhelm. As one viral tweet put it, "We was not supposed to know this many people existed, let alone they thoughts" (Twitter handle: @ethnyagami).

Two people whose thoughts you might actually want to know about, professors Tiziana Terranova and Mindy Seu, have each just published books on the recent history of the Internet. Terranova's After the Internet: Digital Networks between Capital and the Common, part of Semiotext(e)'s Intervention series, collects dispatches from her firsthand research on the emerging technologies and techno-economies that have defined the last decade, including the attention economy and its psychopathologies. Complementing Terranova's slim volume is Seu's cake of a book Cyberfeminism Index, an "anticanon" encyclopedialike collation of more than 700 diverse international manifestations of cyberfeminist activism, art, community, engineering, and scholarship. Drawn from a website of the same name (originally commissioned by Rhizome), Cyberfeminism Index in book form becomes an art object: wrapped in "chroma key" green-screen green, it re-creates the rhizomatic web of its subject matter through extensive cross-references.

In an effort to better understand the recent past, present, and future of the Internet, we brought Terranova and Seu together to discuss their practices and their latest publishing projects.

-Fiona Duncan

Fiona DuncanIf you could introduce yourselves and your practices in your own words, I'd love to hear how your work extends beyond writing and publishing.

Tiziana TerranovaI'm a full-time professor at the Università di Napoli L'Orientale. My practice there is typical of a full-time academic-research and teaching-but for many years I have also been an active member of Uninomade and Euronomade, which are "free universities" that have aimed to produce and disseminate politicized knowledge for social grassroots movements such as those running "occupied" spaces in Italy and elsewhere. They call these "liberated" spaces run as commons.

Mindy SeuI'm an assistant professor at Rutgers University and I teach in the MFA Department at the Yale School of Art. My practice is also grassroots centered. I focus primarily on the activation of digital archives, specifically those that are community created. This expands into digital technologies at large, such as smaller Internet cultures, revisionist histories of the Internet, and considering how to surface those for new readerships while paying respect to the people who have pushed forward those communities from the start.

FDBoth of your books collect existing writings and documents from a specific period of time. Both end with the same year, 2020. Could you talk about the bracket of time that you chose?

MSThe Cyberfeminism Index begins in 1991 because that was the year the term "cyberfeminism" was coined simultaneously by two different groups, the Australian art collective VNS Matrix and the British cultural theorist Sadie Plant, each unbeknownst to the other. Cyberfeminism emerged as a provocation to ask women and marginalized communities how they might shape cyberspace in opposition to the stories told by the hard sci-fi of the 1970s and '80s. The book ends in 2020 but the online archive from which its contents are drawn, cyberfeminismindex.com, will grow in perpetuity. It's still open source, open access, and continuing to be crowdsourced.

FDIn your incredible introductory essay, Tiziana, you help clarify what we've been experiencing with regards to the Internet, social media, and digital technologies over the past decade, calling the 2010s "the accelerationist decade," for example, and introducing the ominous term "corporate platform complex (CPC)." Could you explain what you mean by CPC?

TTIf you look at the way the topology of the Internet has changed, there is this myth, taken from Paul Baran in 1964, that the Internet is a mesh network where every point can connect to any other point. That was part of the utopia of the 1990s. In reality, the Internet was always more of a decentralized network, there was always a backbone and centers that were more powerful. But that is still different from what we have today. The topology of digital networks has changed. What we have are a few content and service providers, endowed with large server farms, that describe themselves as "platforms." You go from platform to platform, from Facebook, Instagram, and TikTok to WhatsApp, YouTube, Google, and then maybe you have Telegram or Signal. Most people relate to platforms. In the introduction I say that the Internet is dead, but only in the sense that it's become residual-it operates in the background but it no longer signifies for most people the possibility of a different, better world.

FDI love when you call the Internet "not so much dead as undead." A zombie Internet.

TTBecause these platforms have constructed something different. From a certain point of view, the Cyberfeminism Index documents all that has been pushed to the sidelines, which is not to reduce its importance.

MSIt seems like you're describing this infrastructural shift from Web 1.0 to Web 2.0. Now, with Web3, this evangelism around the commons or cooperatives is emerging again.

TTWhat do you think about it? Is there a cyberfeminist kind of blockchain?

MSAbsolutely. The focus of Web3 has been on decentralized protocols, from blockchain to p2p, seemingly pseudonymous yet mapped onto an open ledger. Early adopters of new technologies have always been cyberfeminists, and specifically sex workers, because their work is so criminalized, forcing them to find the new cutting edge. Sex workers were some of the first people to use cryptocurrencies, since traditional payment processors considered those that did not abide by their morality clause "high risk." They have chains that use great puns like "titcoin" instead of bitcoin. I do see some of the potential of the Web3 space. I think what confuses me are these claims of decentralization. It feels centralized, since many NFTs are circulating through the same platform, OpenSea, and most transactions are happening on the same handful of chains. It also doesn't feel as ubiquitous and open access as its evangelists' claims are because it requires such tech literacy to onboard people. It's like someone telling you this is the future but not letting you know how to join them.

We need a language of being with machines that is not the language of using and being used, mastering or serving. That also implies a liberation of machines from our racialized and gendered projections of our fears and desires.
Tiziana Terranova

TTThe book I'm working on at the moment, which I started after finishing most of the essays in After the Internet, is called Network Social. The idea started with this return to the social (social web, social media, then social computing, computational social sciences, etc.) in the early 2010s. With relation to the "network social" (which is neither network society nor social network, as I explain in the book), I was immediately fascinated by the ways in which the blockchain was at least at the beginning deliberately anti social. It was the idea that you could do without the social component of communication, a reaction against the hegemony of social media.

MSIt seems like a retaliation is happening against these platform oligopolies and their viewership model. Venkatesh Rao writes about "the domestic cozy," Gen Z-focused online social happenings for a very small group, rather than the late-Web 2.0 desire to have as many followers and viral hits as possible. In some ways, this kind of privatized, smaller social group allows for more of this online intimacy to happen.

FDAlready in our talk we've pointed to how your practices and books complement one another: After the Internet references diffuse countermovements and resistances that the Cyberfeminism Index thoroughly documents, while the Cyberfeminism Index references the power structures that After the Internet reports on. One way to contrast each book's scope is as mainstream and countermainstream. There's also a gendered element: feminisms contra the predominantly white-male ownership of big tech. I was also thinking of scattered power versus consolidated power.

FDWhich is echoed in the construction of your book. Could you describe the formatting of the Cyberfeminism Index in print and how it mimics this rhizomatic web?

MSThe format was inspired by a lot of things, namely The New Woman's Survival Catalog [1973], which was billed as the feminist Whole Earth Catalog [1968] of the 1970s, as well Lucy Lippard's Six Years: The Dematerialization of the Art Object from 1966 to 1972 [1973]. Rather than an essay anthology, Lippard's book is an annotated chronology of excerpts from different writings about the dematerialization of art. That felt like a good lens for how to structure the Cyberfeminism Index, which acts as a sourcebook or encyclopedia, something that you pick up, open, and intuitively select. You have your primary index, an annotated chronology. You have an index of titles, people, and images, and then each entry has cross-references that push and pull you to different entries with complementary or juxtaposed themes. The design also leant on early examples of analogue hyperlinks. Hyperlinks emerged as cross-references, footnotes, and bibliographies in printed volumes long before we had them on the Internet.

FDExploring the book made me conscious about how I read books in print and how I use or am used by the Internet. A hyperlink in print is much clunkier than online, with the efficacy of clicks. I wanted to talk about use and users. I've heard Mindy speak about web "users" being "a contentious term." I'm also thinking about this quote from After the Internet: "The 'user as master of the machine' has waned but what has waxed in its place is also not quite reassuring. The consensus seems to be that the user has morphed from master to addict." I don't even know where the term "user" comes from in a computing context.

FDWith the term "user" I also think of drug use and addiction. Being addicted to one's phone is something I hear people bemoaning all the time now. It's interesting that it's the phone. "I'm totally addicted to my phone," not-

MSThe software.

FDExactly. After the Internet tackles the attention economy and Internet addiction. Tiziana, could you speak to that?

TTYou know, I started by writing SF, then ended up writing mostly academic essays. My BA, MA, and PhD theses were all about SF: Joanna Russ, Philip K. Dick, and cyberpunk. After the Internet ends with a short SF story about a fugitive AI, too.

MSI've also been drawn to science fiction and you see a lot of that throughout this book. The root of the word "fiction" is actually the Latin for "to form." It's easy to see why these narratives and science fictions end up shaping future infrastructures. They change the cultural consciousness of what technology is able to do.

FDFrom the zombie Internet to sci-fi-I love how we are getting into narrative here. Could we also think about Greek tragedy? It seems like we are witnessing a hubristic rise and fall with some of these megalomaniac tech figures. Can narrative precedents give us any clues into what the future of the Internet might be?

TTI think that Yuk Hui has a point when he says that we need to recognize how much myth there is in our philosophy as well as in our relation to technology-Prometheus or Icarus, for example, in Greek mythology. Maybe we should explore other mythological stories about technology (Hui starts with a Chinese story where there is no hubris but a relation to the elemental forces of the cosmos), or make up new ones. Cyberfeminism and Afrofuturism would be good places to start.

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The Future of the Internet | Interview | Gagosian Quarterly

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In an effort to better understand the recent past, present, and future of the Internet, Fiona Duncan joins professors Tiziana Terranova and Mindy Seu to discuss their practices and their latest publishing projects.

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YUK HUI: ON THE EXISTENCE OF DIGITAL OBJECTS

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YUK HUI: ON THE EXISTENCE OF DIGITAL OBJECTS

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As I continue to read this deeply informative and extensive approach to situating digital objects in the metaphysics of philosophy, I have learnt to define digital objects as more than just nodes of data.

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How and why digital objects are best theorized through relations

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A piece of writing that has revealed new connections every time I've partially read it.

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Glitch Feminism: A Manifesto was published by Verso Books in September 2020. The book has been heralded as one of the "best art books of 2020" by The New York Times, "spellbinding" by Artforum, and a "groundbreaking text" by...

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SHERRY TURKLE - ALONE TOGETHER: WHY WE EXPECT MORE FROM TECHNOLOGY AND LESS FROM EACH OTHER

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SHERRY TURKLE - ALONE TOGETHER: WHY WE EXPECT MORE FROM TECHNOLOGY AND LESS FROM EACH OTHER

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I particularly focused on the 'Networked: Part two' essays as written by Turkle.

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Consider Facebook - it's human contact, only easier to engage with and easier to avoid. Developing technology promises closeness. Sometimes it delivers, but much of our modern life leaves us less connected with people and more connected to simulations of them. In Alone Together, MIT technology and society professor Sherry Turkle explores the power of our new tools and toys to dramatically alter our social lives. It's a nuanced exploration of what we are looking for - and sacrificing - in a world of electronic companions and social networking tools, and an argument that, despite the hand-waving of today's self-described prophets of the future, it will be the next generation who will chart the path between isolation and connectivity.

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Consider Facebook - it's human contact, only easier to engage with and easier to avoid. Developing technology promises closeness. Sometimes it delivers, but much of our modern life leaves us less connected with people and more connected to simulations of them.

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DONNA J. HARAWAY - SIMIANS, CYBORGS, AND WOMEN: THE REINVENTION OF NATURE

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DONNA J. HARAWAY - SIMIANS, CYBORGS, AND WOMEN: THE REINVENTION OF NATURE

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My primary readings focused on the two later essays -

A Cyborg Manifesto: Science, Technology, and Socialist-Feminismin the Late Twentieth Century

Situated Knowledges: The Science Question in Feminism and The Privilege of Partial Perspective

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Simians, Cyborgs and Women is a powerful collection of ten essays written between 1978 and 1989. Although on the surface, simians, cyborgs and women may seem an odd threesome, Haraway describes their profound link as "creatures" which have had a great destabilizing place in Western evolutionary technology and biology. Throughout this book, Haraway analyzes accounts, narratives, and stories of the creation of nature, living organisms, and cyborgs. At once a social reality and a science fiction, the cyborg--a hybrid of organism and machine--represents transgressed boundaries and intense fusions of the nature/culture split. By providing an escape from rigid dualisms, the cyborg exists in a post-gender world, and as such holds immense possibilities for modern feminists. Haraway's recent book, Primate Visions, has been called "outstanding," "original," and "brilliant," by leading scholars in the field. (First published in 1991.)

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Simians, Cyborgs, and Women: The Reinvention of Nature

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Simians, Cyborgs and Women is a powerful collection of ten essays written between 1978 and 1989. Although on the surface, simians, cyborgs and women may seem an odd threesome, Haraway describes their profound link as

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Participating in the development of work for this brief helped in crucial learnings.

Collaboration is difficult but rewarding.

Collective Action and story-building can be a beautifully enriching experience.

Speculative Fiction Frameworks can help build communal experiences.

Building the world for Bridget and Illustrating her past to represent how her new body carries trauma helped me to explore creating visual narratives based on speculative worlds.

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A mind map of the gaps, questions to be considered and addressed while building the project.

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Early Mind - Mapping and Notes While Building the Conceptual Framework

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Early Mind - Mapping and Notes While Building the Conceptual Framework

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To be inspired from a story to recreate certain tropes and follow certain literary ideas and concepts, I began rereading and analysing Alice in Wonderland. I drew points of intersection and differences between the possible world of Interland and the defined world of Wonderland.

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I wrote a first draft of the story of 'Alice in interland' by practising stream of consciousness writing and just simply writing my thoughts and materialsing them into poetry. this first draft will surely be modified many times to form a complete scripted narrative.

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After researching the sources and cuktural commentaries surroudning Notes App, I wrote the lyrics for the conversation in the form of a satire by giving voice to Notes App.

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To write the song narrative between a human and Notes App, I researched the culture surrounding Notes App. How Notes App has been used in recent years to further personal apolgies into the public arena of social media as the trope of a Notes App Apology seems more authentic. I used thse tropes and several real-life celbrities, politicians, and religious leaders' accounts with notes app to build on my research and further construct the lyrics.

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I consulted with computing technician Pietro Bardini to understand how I could include the element of touch in my objects to trigger the sound-based conversational narratives. These notes are documented attempt at understanding the required machinery, which I am still experimenting with, being unsure if it will work out.

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After situating Digital Objects as defined by Yuk Hui "objects that take shape on a screen or hide in the back end of a computer program, composed of data and metadata regulated by structures or schemas.", I began planning my outcome. While I wanted the outcome to materialsie these digital objects so we could question our relationship with these objects and how they embody us in the cyber space, the outcomes were also a commentary on the pop culture. I used kitsch imagery, inspired by Sara cwyner, to build physical renditions of these objects such as a casette scrapbook of actual playlists for Spotify Playlists. This plan soon fell flat, when after multiple conversations and prototype discussions, I was unable to depict the concept in its entire depth to my target audience GenZ.

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The above link contains documented photographs, and voice recordings from the workshop.

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Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

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The above pdf is the written narrative and written sound construction for the story.

This was my first time working with sound. For brief one, I did not want to collaborate on sound, as I saw this as a technical challenge, skill, and medium of voice that I must build authentically, myself. I do not know if I was successful in conveying my feelings and Tina's feelings, but I built the narrative to depict the trauma of being entrapped, questioning one self consistently, questioning the world, and yearning to exist in a system outside of their own.

This writing is based on the storyboarding plot of Tina's story, a first and final draft before I recorded and added background sounds into the poem.

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Following readings suggested by CJ on Donna Haraway's Situated Feminism, I asked myself the question of who is Tina? and whose voice does she embody? And how does she embody this?

In my research before this reading, I often found it difficult to define my perspective and its relationship with the audience. The reading, while I must agree I will have to read it multiple times again, substantiated the importance of partial perspectives, and diverse situated perspectives.

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This pdf follows the notes, thought process, and story boarding of the world of Tina.

I read Harlan Ellison's short story multiple times, and drew points of inspiration and takeaway to rebuild his world from Tina and Emox's pointof view.

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Kindly click on the link above to view the output.

Based on the short story 'I Have No Mouth and I Must Scream' by Harlan Ellison (suggested reading by CJ as a response to our discussion about me wondering where I should take the idea of biased AI systems and patriarchal oppression), 'The Story of Tina', follows Tina as she is enslaved by the snetient AI system called EMOX.

Our world systems are based on hegemonic patriarchal, capitalistic structures. These structures are so deeply entrenched in the society that they are woven into the very fabric of our existence in status quo. Our family life, sense of self, learnings, politics, culture, ecology, working life, everything is imbibed with these oppressive and biased systems.

As these same systems are the founding fathers of new technological systems and structures of AI, I wanted to speculate Ellison's narrative in a perspective that opens up room for discussing who or what systems are responsible for the biased foundations of AI, and what kind of repercussions are we bound to experience of the same, if we do not act now and make them informed of diverse, differentiating, and differently situated communities, their lives, and their viewpoints.

The oppression continues but adapts into a new langauge in the world of EMOX.

I also wanted to specifically use a sound based narrative, where I produced most of the spoken noises in the background, and the poetic narrative to explore the tension between silencing of the marginalised and allowing the space for diverse voices to be heard.

For Tina, she can only speak at night, and she will never know that we had the chance to hear her voice. But the transported artefact, which stores the memory of her life and voice, exposes the audience to Tina's narrative, suggesting the impending doom, a lesson, a warning to question the things around us, and question who builds it, why we build it, and how we build it.

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Built on the idea of communal world building, our fundamental premise for the workshop was to ask the participants to build their speculative worlds for their chosen community.

As a collective we wanted to explore questions like - How can we build together for our future? What part does story telling and speculative fiction play in the field of world-building? Can our imaginations push us further towards building for more inclusive futures?

To address the last question, we introduced the second part of workshop as exchangin the worlds. The participants were asked to respond through materials, writings, and any other medium to randomyl selected worlds constructed by the fellow participants. What ensued, personally, was a beautiful amalgamation of conversations around life philosophy, imagined utopias, imagined dystopias, imagined solutions for current world issues, a series of questioning into what world we exist in, what would we like, what would we not like, and what are we taking forward with us.

In the respect to mediums, collage-making as a practice really inspired me to create wqorlds out of existing imagery. I thought it was extremely fascinating how we would use the photogrpahs, symbols, imagery of the today to imagine worlds of the future.

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Having undertaken the initial conceptual development and engaged with others, you now need to concentrate on creating your tangible response(s). Structuring experiences is a critical skill that we need to begin honing, and as such you are tasked with creating a narrative of the experience you are creating. The term narrative may be interpreted how you wish: for example, it could be a fictional story, a piece of sound, an animation / film or a series of objects. The key thing here is that you are able to communicate the experience in time.

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During the second part of the unit, you are tasked with two different pieces of work: first working in small groups designing and delivering a workshop that can facilitate collaboration and co-creation. Secondly, as individuals, reaching out to experts in your chosen field you are looking to explore, in order to gain a deeper understanding of the conceptual area.

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In the first part of the unit you will use speculative design methods to imagine an instrument of some sort, that will act as a vehicle through which you will explore your chosen area of focus.

Speculative instruments can take many forms, for example you could make a film, or soundscape, or a set of concept designs, that communicate your idea. It must, however, be more than just a sketch on a piece of paper or a text description. They do not have to be functional, but whatever you make must be able to communicate the idea fully.

The idea will no doubt keep evolving as you continue to develop your work over the course of the term.

Your instrument should also come with the following information:

A short history of the evolution of the instrument.

A description of where it sits within the culture of the society in which it exists.

Some concise ideas of who uses the instrument.