Haraway, Situated Knowledges.pdf. 4: Michelle Kendrick. The Laugh of the Modem: Interactive Technologies and l'ecriture feminine Michelle Kendrick [1] I was a graduate student when I read Hélène Cixous for the first time. As an young woman who prided myself on my "reason," and my ability to be unemotional when needed, the "Laugh of the Medusa" left me quite startled and more than a little put off: how did writing -- which for me was painful and laborious -- relate to bodily sensuality and pleasures?
A friend at the time, Lisa, fell in love with Cixous' writing and would quote her dramatically in the student lounge. "Throw high the vast fringes of your body and write," she once commanded me. . [2] What shocked me, then, was finding a theoretical article, written by a woman, that so viscerally evoked the female body. . [3] Several years later, as my work moved into new media, I began studying hypertext. Bodies and Bytes [9] But the hypertext theorists, I would hold, err too far in the other direction. Pleasure as Agency. NFS8-FemFuture-Online-Revolution-Report. Haraway-CyborgManifesto-chap. Where have all the cyberfeminists gone? Part 2 of 2 | Engenderings. Nicole Shephard is a PhD researcher at the LSE Gender Institute, where she explores the becoming of transnational subjects.
In this post, the second of a two-part series, she considers the history and future of cyberfeminism. Follow her on twitter: @kilolo_ In a prequel to this post I have briefly introduced the history of the cyberfeminist movement and some developments leading to the status quo. Here, I would like to think about its legacy and potential contemporary relevance. In the introduction to Cyberfeminism 2.0, Gajjala and Ju Oh ask “where have all the cyberfeminists gone?” Were I prompted for a marginally informed guess, I would say that they haven’t gone at all. Gender may well be an unfortunate dichotomy, as postmodern virtual theorists argue, but cyberspace is generating goddesses and ogres, not cyborgs -Kira Hall, 1996 More recently, ‘online feminism’ has been defined as feminism that uses the Internet, and social media in particular, as its medium. Works cited.