Whore of New York: A Confession

Product Information

AHI love when people come up to me because I love meeting people, and I love being liked. People can speak pretty crazily to me, though, because they assume I’m as manic or as wild as I am on the internet. Or I guess they just assume that because I talk badly about myself online, or “dish it,” that I can really take it. I can’t take it.

Welcome | Patreon

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. Pornoverbot auf Tumblr zeigt, wer im Netz wirklich die Macht hat"[Porn Ban on Tumblr Shows Who Really Holds the Power on the Net]. Der Standard (in German). 5 December 2018 . Retrieved 13 April 2023. Liara Roux, an autistic resident of New York City's Upper East Side, recalls her childhood of conservative Christian surroundings and an abusive father, in juxtaposition with her latent desire to be involved with prostitution. As an adult, Roux is sexually abused in a lesbian relationship with her partner, and finds solace in the practice of sex work, even when her sexual experiences with clients are flawed. Roux raises questions about sex and sexuality as commodities, bodily autonomy, sexual consent, and the worth of the individual in a collective western society. She also tells of her medical conditions in life, including excruciating migraines, and her poor experience when seeking proper healthcare. The book continues with various personal accounts of Roux's experiences with clients, as she seeks independence from her partner after a bad marriage. [1] Critical reception [ edit ] The main source of control / domination is "Touching / Hands". As computers and technology began to appear, our hands and that sense of touching become a part important of our lives. According to the 2021 YouGov Body Image Study, 35 per cent of Americans have no preference if women shave or not, while 7 per cent said they should not shave. For respondents between the ages of 18 and 35, female fur proved to be even less of an issue, with a majority confessing that they either find armpit hair attractive or don’t care if a woman has it.While we don’t have stats on the topic in Australia yet, women Down Under have participated in social movements such as “Januhairy” and “Get Hairy February” in a bid to normalise female body hair. Roux is both queer and genderqueer and uses she/her/he/him/they/them pronouns. [6] She was diagnosed with autism early in life. [7] Publications [ edit ] I don’t know,” she said, “It was so intimate. We were just so present together, talking about work or our lives basically the whole time, not looking at our phones or binging Netflix shows. It reminded me of how X and I were when we started dating.” BOMB Magazine has been publishing conversations between artists of all disciplines since 1981. BOMB’s founders—New York City artists and writers—decided to publish dialogues that reflected the way practitioners spoke about their work among themselves . Today, BOMB is a nonprofit, multi-platform publishing house that creates, disseminates, and preserves artist-generated content from interviews to artists’ essays to new literature. BOMB includes a quarterly print magazine, a daily online publication, and a digital archive of its previously published content from 1981 onward.

Mindy Seu: cyberfeminism ‘has shifted from utopia to dystopia’

Do you feel like cyberfeminist theory has shifted over the years from an optimistic vision of technology to anti-surveillance and anti-capitalism?Mindy Seu: 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. Is there anything you consistently see mischaracterized about sex work or anything you wish people understood better about it? Mindy Seu: 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 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. I actually got to a place of really loving it,” said Chanté, who added that they’ve received an outpouring of support from friends and followers online.

Front page — Liara Roux

I think I’m in love with someone else,” she told me, nervously playing with the ridge of her paper coffee cup, “Or no, love isn’t the right word. Just sexually obsessed. I can’t stop thinking about him.” Doing so is a vulnerable act that’s made a little less vulnerable with humor, a salve that lets both Hamilton and the audience ease the tension. She brings you up, down, lets you breathe, then, like a pendulum, brings you up yet again. It’s raw and sweet, marking young Annie Hamilton as someone to keep an eye on.

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.

Liara Roux | Bunkr Liara Roux | Bunkr

Diffusion models, like Stable Diffusion and DALL-E 2, are ANNs that focus instead on generating images. They’re trained on endless images which are all associated with certain text descriptions. They’re then given a “noise” image that essentially looks like old-school television static. From there, they’re instructed to find an image in the noise. If you’ve ever looked at clouds and saw a face, or stared at the ceiling too long and started seeing strange images emerge, you’ve essentially done the same. Yeah,” I said, “There’s a lot of ways it could go wrong. But maybe it could just be a fun fling too.”

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Do you feel like cyberfeminism has shifted a lot over the years? What’s your take on its birth, and how it has evolved?