Nancy Mauro-Flude

This paper analytically responds to the collaborative performance work Writing the Feminist Internet as a motif of fourth wave feminism. It probes at the edge of Internet dark spaces that are often occupied by those who point to complacency in engagement with networking systems, by drawing auxiliary attention to the apparatus. Further examination sheds light on the valences and anarchy of technopolitics that transpired and reflects on the call for ‘hybrid of feminist activist efforts’ noted by Emma A. Jane. Positing towards ‘a recalibrated approach to collectivism’ (2015, 285) Jane continues to give rise to a vast communal realm for the expression of alternative behaviours. In building upon the feminist ‘wave’ metaphor there is acknowledgement that the undercurrents of nautical lineages come to endure through ‘debt, or inheritance’ more often than a confluence of flows. The findings reveal that the potency of a chthonic feminist internet theory lies in its indeterminate stance. In conclusion, it is proposed that ambivalence and prominence in obscurity in such expansive ‘dark social spaces’ is where new meanings and enunciations can brew and be read as a source of critical and aesthetic ambiguity, amongst the highly revered principles of disarray, pandemonium and incompleteness.

In this article, we reimagine the Internet as a feminist cosmos called a Feminist Server Stack. By scrutinising how webserver infrastructure is normalised based on imperial conventions and distorted knowledge systems, we suggest alternatives. This embrace of ‘post-patriarchal futures’ (Bardzel 2019, 20) offers counter perspectives on how we may holistically embody the Internet as a situated ecology. When experiencing the Internet materiality, it leads us to imagine beyond the known and possible. We focus on enchanting affirmations and tacit hands-on computational methods from the frontiers of feminist digital literacy and server communities. These acts make visible the seams and fissures of concealed undercurrents and schemata of infrastructures. The findings reveal utterly different relationships between webserver providers and clients. Drawing from extensive fieldwork and observational analysis, we show how the choreography of happenings is seeding the ground for participatively co-designing the transfiguration of planetary computing into one that is scalable, visceral, and restorative. We welcome these nascent pathways to guide us to an enigmatic realm upon which theories of co-design could dance in communion with a realm that is to-come.

This critical analysis is to addresses the implications about emerging design approaches in Human Computing Interfaces (HCI), and Human Interface Devices (HID). A reflection about custom-built interfaces invigorates a wider discussion about the meaningful contexts in which their use is activated. The specific aim is to re-imagine, redefine and explore the potentiality and limitations of electronic performance tools, namely, how the choice of this tool and interface nearly always gives rise to new situations that must be tackled. Therefore, addressing the material aesthetics of performance tools used in contemporary electronic performance, by artists who engage with such technologies, this article aims to critically analyse and historically place artistic engagement with tools and interfaces in contemporary performance settings and to indicate where there is room for new design approaches and hence new (and forgotten) modes of engagement to unfold. To amplify the relationship between performer and the spectator when using the emerging technologies of real-time performance tools, I refer to ‘Ode to Paraphernalia’, a set of self-crafted electronic performance tools and a performance. This project opens a pathway for a larger proposal that asks: what are the ways in which we can engineer interfaces that validate the circulation of subjugated knowledges in meaningful sets and settings?