Building Our Autonomy: Autonets Convergence Toronto

autonets-convergence-toronto

Building Our Autonomy: Autonets Convergence Toronto
Wednesday, November 13, 7-9PM
Robarts Library, Room 1150, 130 St. George Street

Autonets Convergence aims to brings together hackers, anti-racist coders, gender hackers, gender changers, dancers, movement makers, poets, performers, media makers, anti-violence, transformative justice and prison abolitionist activists by giving them a space to share their knowledge and their skills in order to help stop violence against queer and trans* people, people of color, disabled people, two-spirit people, sex workers and women. Engaging in discussion with the local community members based in Toronto as well as with the community at UofT about the kinds of violence we face daily, we will collectively work towards creative community-based responses to end violence, creating experiences and skills which at the end of the workshop we can take back to our own communities. The goal is to seed a movement of creative free/libre/open source technologies in concert with non-digital, community based solutions, to end gendered, racialized, sexual and ableist violence.

More information at http://autonets.org

Workshop organized by micha cárdenas. micha is an artist, hackctivist, poet, performer, student, and educator, mixed-race trans femme latina survivor who works at the intersection of movement, technology and politics. www.michacardenas.org

Venue is wheelchair accessible, please do not wear chemical scents to create accessibility for those with chemical injury

 

*please fill in all fields. Thanks!

Speculative Bodies: Trans and Queer of Color Media Praxis, Panel at SCMS 2015

I'm very happy to announce that I'll be presenting on a panel with a group of amazing scholars at the Society for Cinema and Media Studies 2015 annual conference in March in Montreal! Panel Title: Speculative Bodies: Trans and Queer of Color Digital Media Praxis Chair: Tara McPherson Respondent: Zach Blas Shifting, Flickering Futures: Imagining a Digital Trans of Color Praxis/Micha Cardenas The Digital as Drag/Margaret Rhee Queer Love and Media Justice: Critical Fandom as Speculative Feminist Praxis/Alexis Lothian  
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What Carries Us Through the World – Workshops and Screening in Toronto

Image: micha cárdenas, Alessandra Renzi, Frantz Jerome, Benjamin Lundberg, Lily Mengesha, Aisha Jordan, Joana Fittipaldi and Tomaz Capobanco, photos by Macarena Gomez-Barris, We Already Know and We Don’t Yet Know, Hemispheric Institute of Performance and Politics VIII Encuentro, São Paulo, Brazil, January 2013. Courtesy of the artist. [Image shows 8 people performing a movement gesture, pointing with one arm outstretched, looking down, wearing black and grey clothes, ground wet, audience and green plants in the background]

Call for Participants

micha cárdenas With guest facilitators Leah Lakshmi Piepzna-Samarasinha and Eddie Ndopu

Presented by e-fagia and co-presented by the Inclusive Design Research Centre at OCAD University

Workshops Part 1 - Monday, August 18, 6-9pm with micha cárdenas and Eddie Ndopu Part 2 - Wednesday, September 24th, 6-9pm with micha cárdenas and Leah Lakshmi Piepzna-Samarasinha

Public Screening September TBD

Registration ends: Sunday, August 10th, 2014 Please RSVP for ASL by August 1st Maximum 20 participants. Workshops will take place at IDRC at OCAD University, 49 McCaul Street.

“Caminante, no hay puentes, se hace puentes al andar.” “Voyager, there are no bridges, one builds them as one walks.” ― Gloria E. Anzaldúa

What carries us through the city? Urban environments are highly designed with layers of technology. As we move through them, we bring our own technologies that assist us in travel, from canes and wheelchairs to lipstick and hormones to objects with spiritual significance to mobile media and wearable electronics. Inspired by the work of the Gloria Anzaldúa, a gender non-conforming, sick and disabled chicana poet, this two part workshop series brings together together trans people, disabled people, people of color and allies to share our knowledge of moving though the city, in order to build trans and disabled solidarity through our shared need for safe movement. Starting with a discussion of wearable electronics in cárdenas' project Local Autonomy Networks, participants will consider all the varied kinds of technology they wear on their bodies and encounter as they move through the city. 

What Carries Us Through the World will engage participants in a two part workshop series that will culminate in a final screening. Throughout the workshops we will identify design problems that limit access or allow for violence, from physical aspects such as curb cuts to ideological aspects such as colonial borders and gendered restrooms. Using discussion, writing and performance exercises we will create short video performances that engage with issues of access, movement and liberation in Toronto. Through our shared experiences of violence and everyday resilience strategies, we will work towards a vision of the future where trans and disabled people can have freedom of movement. 

The series asks: how can we reconfigure our understanding of technology and design, to decolonize technology, to no longer think technology only in terms of digital technologies, circuit boards, LED's and microcontrollers. How can we expand our idea of technology to include lipstick, glasses, jewelry, curb cuts, door frames, respirators and face masks, immigration controls, transportation networks, ways of sharing secrets, nonverbal ways of communicating, all of the ways that we create worlds as we move through them. 

To register your participation, please send your name and contact information,  mmcarden A+ usc d0+ edu with “What Carries Us Through the World” in the subject line and we will send you a form for participant information. 

About the Artists

micha cárdenas is a performer, writer, student, educator, mixed-race latina femme who works with movement as a technology of change. micha is a Provost Fellow and PhD candidate in Media Arts + Practice (iMAP) at University of Southern California and a member of the art collective Electronic Disturbance Theater 2.0. micha’s solo and collaborative work has been seen in museums, galleries, biennials, keynotes, community and public spaces around the world. michacardenas.org

Eddie Ndopu - Born to a South African freedom fighter mother who fled from the Apartheid regime to Namibia under self-imposed exile, Edward (Eddie) Ndopu is a dis/abled queer femme afropolitan living in Ottawa, Ontario. Named by the Mail and Guardian Newspaper as one of their Top 200 Young South Africans, he is a social critic, anti-oppression practitioner, consultant, writer, and scholar.

Leah Lakshmi Piepzna-Samarasinha is a queer disabled Sri Lankan cis femme writer, performer, organizer and badass visionary healer. The author of the Lambda Award winning Love Cake and Consensual Genocide and co-editor of The Revolution Starts At Home: Confronting Intimate Violence in Activist Communities. With Cherry Galette, she co-founded Mangos With Chili, North America's performance incubator for Two Spirit, queer and trans people of color performance artists, and is a lead artist with Sins Invalid. She has taught, performed and lectured across North America, Sri Lanka and Australia and co-founded Toronto’s Asian Arts Freedom School. www.brownstargirl.org

Access:

This workshop is for trans people, sick and disabled people, 2-spirit, black / indigenous / mixed / people of color, but it is open to allies interested in working in solidarity at the intersections of disability justice, assistive technologies, transgender safety, wearable technologies and transportation in the city. The venue is wheelchair accessible and ASL interpretation will be made available upon request. Please RSVP for ASL by August 1st. Do not wear chemical scents or scented garments, to allow accessibility for presenters and participants with chemical sensitivity. [More details about scent-free accessibility here] 

About e-fagia

e-fagia is a Toronto-based organization created to produce and disseminate visual and media art projects with emphasis on contemporary Canadian and Latin American artists. Our focus is on diversity and art practices that respond to common decolonial struggles in the Americas. We provide a space for artists’ visibility in the national and international communities, while advancing theoretical inquiry through exhibitions, digital and print publications, and lectures by local and international artists, curators and scholars.

We have a trans-disciplinary approach towards the complexity of contemporary arts: we foster encounters between new media artists and people of other academic disciplines to develop aesthetic and socio-communicational projects under the net of relations enabled by new technologies. Our publications and presentations help us to expose the public to different types of contemporary artistic production. For more information visit  www.e-fagia.org

About  Inclusive Design Research Center at Ontario College of Art & Design

The Inclusive Design Research Center (IRDC) is a research and development centre at OCAD University where an international community of open source developers, designers, researchers, advocates, and volunteers work together to ensure that emerging information technology and practices are designed inclusively. The group promotes inclusion in a full complement of activities:

- growing design and development practices

- creating tools that others can use and contribute to

- teaching the principles and techniques of inclusive design

- advocating for inclusion in international standards

- providing services that match solutions with individuals

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Artist in Residence at Artscape Gibraltar Point, Toronto

I'm so honored to be an artist in residence this summer at Artscape Gibraltar Point in Toronto, Ontario. Read on for more details... http://queerartistresidency.blogspot.ca/2014/06/announcing-artists-in-residence-for.html ANNOUNCING THE ARTISTS IN RESIDENCE FOR THE 2014 INTERGENERATIONAL LGBT ARTIST RESIDENCY (le français suivra) FOR IMMEDIATE RELEASE Thursday June 12, 2014 ANNOUNCING THE ARTISTS IN RESIDENCE FOR THE 2014 INTERGENERATIONAL LGBT ARTIST RESIDENCY I’m proud to announce the continuation of the INTERGENERATIONAL LGBT ARTIST RESIDENCY, the first intergenerational artist-in-residency program for LGBTQ artists in Canada. The residency will take place with the support of the Ontario Arts Council, private donors, and the collaboration of Artscape Gibraltar Point, on the Toronto Island July 1 to 15, 2014. The INTERGENERATIONAL LGBT ARTIST RESIDENCY offers studio space and free room and board to artists for the duration of the two-week residency. Residents will also receive mentoring and studio visits from critically acclaimed artists, and curators, as well as collectors and art historians. Our partner is Artscape Gibraltar Point, an artist residency and retreat center nestled on the Toronto Island near Hanlan’s Point. Leading figures in Canadian contemporary art, artists, collectors, curators and art historians, will serve as mentors, who by providing residents with one-on-one studio visits and support will participate in the community the residency generates. The aim of this residency is to help create a vision and experience of LGBT longevity through shared practice, art career management training, and community building. Right now, there is no real vision for LGBTQ longevity. There is little to no plan for LGBT elder care. There is a dearth of medical investment around the aging trans body. Simultaneous to this, neither Canadian LGBTQ political history nor Canadian LGBTQ art history is taught or shared in any kind of organized or widespread way. Only a privileged few who get a certain kind of humanities education, might seek out LGBTQ art history, and this is more likely to be about American artists and American historical events. Typically this results in a fixation on that which alleges to be 'new', because there is no sense of trajectory or lineage. An explicitly Canadian artist residency with an intergenerational LGBTQ cohort can strengthen the vision and community we offer one another. The INTERGENERATIONAL LGBT ARTIST RESIDENCY is very pleased to announce the artists for the inaugural 2014 residency: Micha CARDENAS (Toronto, Ontario/Los Angeles, California) Derek DUNLOP (Winnipeg, Manitoba) Syrus Marcus WARE (Toronto, Ontario) Micha CARDENAS is a scholar, and artist using dance, text and interactive technology. She is working on a series of movement and poetry performances, videos and an interactive online experience. Derek DUNLOP using Queer abstraction, drawing and painting processes, he will explore three new formal approaches to making works on paper arising out of his recent work in the studio. Syrus Marcus WARE is Syrus Marcus Ware is a visual artist, community activist, youth-advocate and educator. He is working on large-scale painting themed around archives, LGBT storytelling and LGBT activism in Toronto. The jurors also chose two alternates. Thanks to a generous donor, the alternates can still participate in the 2014 INTERGENERATIONAL LGBT ARTIST RESIDENCY by sharing the studios and being a part of the residency community. This will enrich the 2014 residency experience for all of the participants. Alternates: Alec BUTLER (Toronto, Ontario) Alec is developing “My Friend Brindley” a documentary about the late local unsung hero and historic figure Brindley, their friendship, art and activism, and the forbidden subject of death and grieving. Joshua VETTIVELU (Thornhill, Ontario) will use the landscapes of Gibraltar Point and surrounding islands to develop land artworks, temporary sculpture and video. We wish to thank all those who applied! We received applications from across Canada, from Halifax to the Prairies to Quebec and even California, North Carolina and Brooklyn,. Jurors were faced with the difficult task of selecting only a few among the many excellent applications. Our 2014 cohort of Artists in Residence was juried by Elisha Lim (artist), Kelly McCray (curator) and Kathleen Pirrie Adams (curator and professor, School of Image Arts, Ryerson University). Each of these award winning artist educators brings a depth of history and experience to the process, broadening the credibility and gravitas of the project. We considered a variety of criteria in the selection process in order to put together a coherent and balanced cohort of residents. Applicants for the INTERGENERATIONAL LGBT ARTIST RESIDENCY included a broad range of ages and career points and genders. The work submitted for review was passionate, rigorous and inspired, showcasing a diverse array of mediums, and exciting practices. We hope those who were not offered a residency this year are aware of the crucial role they played in developing this project, and feel encouraged to apply again next year. The residency will bring both new creative perspectives and prestigious art professionals together at Artscape Gibraltar Point. Located in the former Toronto Island Public and Natural Science School, Artscape Gibraltar Point offers retreat space, artist studios and accommodations for artists . A short walk from Toronto’s clothing optional beaches at Hanlan’s Point, Gibraltar Point enjoys it’s own semi private beach. The beach is shielded from the road by a stand of natural brush and trees. There are designated wooden walkways through this natural area to ensure that foot traffic does not degrade it. To the descendants of the Ojibwa, now the Mississauga First Nation, the Toronto Islands are sacred land. The tranquil, idyllic setting at Artscape Gibraltar Point is world-renowned as a centre for members of the artistic and non-profit communities to think, experiment, collaborate and share ideas. On July 14, there will be a concluding public event which will both celebrate the achievement of the Intergenerational LGBT Artist Residency and its participants, as well as honour the donors, and raise funds for the continuation and expansion of the residency in 2015. Please visit our Facebook page https://www.facebook.com/ILGBTArtistResidency and our website http://www.queerartistresidency.ca for updates about the artists and the public events. Interested parties can also donate via Paypal, on our website. By exploring Canadian LGBT art history and artistic practice, while supporting artists and art production, we could foster communication across generational lines with this community building initiative. The INTERGENERATIONAL LGBT ARTIST RESIDENCY highlights the trajectory and longevity of LGBT art both historically and reaching into the future. We look forward to seeing you on the island!    
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We Need Trans of Color Feminism Now

The AVP statistics are out, and again trans women of color are the number one targets of violence and murder, by a wide margin. We need a trans of color feminism now, that can stop these deaths of our sisters and free those behind bars, like Jane Doe. And as I said last week at the Writing Trans Genres conference in Winnipeg, this is not a project for trans women of color to do alone, any more than feminism is for women or ending racism is just a project for black people. No, everyone needs to be contributing to, building and supporting this emerging movement of brilliant, beautiful and powerful trans women of color and developing an analysis that can account for, and end, these deaths and imprisonments. Trans of color feminism will be art, theory and activism. We need a trans of color feminism that can move beyond a simple demand for representation that would allow violence, including the violence of imprisonment and war, to continue, in exchange for media coverage, that understands that neoliberalism works by managing difference which means giving us visibility in corporate media in order to say who is an acceptable trans person and who isn't. We need a trans of color feminism that can find ways to still work for justice for all the trans women of color who don't want to be identified and just want to live their lives. We need a trans of color feminism that won't let transfeminism reproduce the ways that feminism centered whiteness. We need a trans of color feminism that can account for the historical lack of trans women in women of color feminism. We need a trans of color feminism that doesn't forget where we came from and acknowledges that the concept of transgender was invented by white western doctors and ignores the ancient histories of gender diversity as old as humanity. We need trans of color feminism now, because we want to live, we want to love and we want to thrive, and we are going to change whatever structures stand in our way.        
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Body Games: Workshop series in Toronto this summer

  I’m so excited to share my Body Games series of workshops this summer in Toronto, with Dames Making Games! The first is wearable electronics and the second is embodied non-competitive games! Here’s the workshop series description: Body Games – Our Bodies, Our Games a workshop series by micha cárdenas Does the identity and embodiment of the game designer matter? Does the identity and style of embodiment of the player matter? How can we use these parts of ourselves to design better, more compelling, more transformative games for social justice? This workshop series by micha cárdenas, presented by Dames Making Games Toronto, will look at games we can play where our bodies characteristics are central game mechanics. How can we create a capture the flag game that is anti-colonial? Or a game of Tag that will help end sexual violence? Or a game of hide-and-go-seek that would challenge trans-misogyny? Or a game that challenges ableism by relying on disabled players unique capabilities in order to win? Accessibility: The workshop space and washroom are wheelchair accessible. Do not wear scented products to this workshop. If ASL is needed, please leave a comment to send me a message and RSVP.
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E-Books of The Transreal and Trans Desire

The Transreal: Political Aesthetics of Crossing Realities - $12.00 - by micha cárdenas, Elle Mehrmand, Zach Blas, Amy Sara Carroll, Ricardo Dominguez, Brian Holmes, James Morgan, Stelarc, Allucquére Rosanne Stone. The Transreal: Political Aesthetics of Crossing Realities explores the use of multiple simultaneous realities as a medium in contemporary art, including mixed reality, augmented reality and alternate reality approaches. Building on the notion of "trans" from transgender, signifying the crossing of boundaries, the book proposes that transreal aesthetics cross the boundaries created by a proliferation of conceptions of reality that occurred as a result of postmodern theory and emerging technologies. Proposing three operations for dealing with multiple realities, The Transreal discusses artists and art collectives including Blast Theory, mez breeze, Reza Negarestani, Ricardo Dominguez and Zach Blas. Through these artists' work and Cárdenas' own artwork, including Becoming Dragon and collaborations with Elle Mehrmand Becoming Transreal, technésexual and virus.circus, The Transreal demonstrates that transreal aesthetics have broad implications across new media, performance art and electronic literature. The book spans a wide range of genres including theoretical analyses of artworks, poetry, source code, photos of performances and wearable electronics, and discussions with leading thinkers in new media and performance art including Stelarc, Allucquére Rosanne Stone and Ricardo Dominguez. Building on the notion of experimental affective politics that was developed in Cárdenas' first book Trans Desire/Affective Cyborgs, co-authored with Barbara Fornssler, The Transreal claims that an understanding of building and working with multiple realities is essential for artists and political actors to have agency today. "In Trans Desire, Cárdenas offers us nothing less than a practical theory of desire that creates livable, affirmative worlds that resist the violence of capitalism and heteronormativity." - Zach Blas, E-MISFÉRICA "In this daring and poetic study [The Transreal], Micha Cárdenas guides us through the world of the transexual, the transgenerational, the transpolitical, the transborder. The transreal is both a multilayered space and an existential condition. Brilliant." - Diana Taylor, University Professor, Performance Studies and Spanish, New York University Founding Director, Hemispheric Institute of Performance and Politics "Cárdenas offers new relational modes of modulation, conduction, and calibration that are not based on difference, reduction, or lack, adopting the structuring principles of ecologies rather than the apparatus. What emerges is a transreal geometry of intimacy: dynamic assemblies of scalar bodies, historical and transitional, distributed and consolidated in new forms of material agency, affective amplification, and erotic transgression… The transreal becomes not only a tool for analysis but also a political practice: a call for the transformation of reality itself, in all its sensory resonances, by way of incorporating the turbulent forces at its core." - Jordan Crandall, Associate Professor, Visual Arts, University of California, San Diego "Micha Cárdenas and her playmates are ontological guerrillas who know that blowing up the dominant order of power/knowledge is only the first step towards real revolution. The crucial next step is materializing virtual possibilities immanent in our current situation. Read the book, and make a little transreality yourself." - Susan Stryker, transgender theorist, filmmaker, and academic Director, Institute for LGBT Studies, Associate Professor, Gender and Women’s Studies, University of Arizona   Trans Desire - $10.00 - by micha cárdenas Trans Desire explores the ramifications of using desire as the basis for contemporary political movements rooted in a struggle for autonomy, from the perspective of a transgender person about to begin hormone replacement therapy. It examines the affinities between psychoanalytic theories of desire, queer theory and biopolitics, using the work of theorists including Avital Ronell, Giorgio Agamben and Judith Butler. Trans Desire proposes that radical queer porn is an example of world building that effectively resists biopower without turning to former movements' demands for rights and legislative reforms. "Micha Cárdenas takes apart the terms and implicit contract binding the project of "Master Thesis." What is it to master an object of inquiry that resists boundary control or conceptual arrest? How does one pursue a thesis when genre and gender assignments are continually destabilized? Situated between soft rant and manifesto, between autobiographeme and scholarship, between single and double authorship, Trans Desire bravely faces down the quirky habits of our bildopedic culture, reformatting the very conditions of institutional submission." - Avital Ronell "In this powerful meta-account of transgressive embodiments and desires, Cárdenas enunciates a rousing, theoretically complex and practically explicit politic of resistance which will resonate with scholar and layperson alike." - Allucquére Rosanne Stone "In Trans Desire, Micha Cárdenas offers a moving and provocative exploration of transgender desire, its limits, and its potential for biopolitical resistance. At an intersection of poetics and theory, Cárdenas embraces a queer ethico-politics devoted to radically challenging not only heteronormativity but the oppressive power of Empire more broadly." - Diane Davis
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Feminist Making at ASA 2014 in Los Angeles

I'm so happy to announce that I'll be presenting in this theory/practice based format at the American Studies Association 2014 meeting in Los Angeles, November 6-9! Susan Garfinkel organized this brilliant panel! Digital Humanities Caucus and ASA Women's Committee: Feminist Making I: Building Critical Contexts This panel is first in a two-part series of roundtables that takes as its focus the contemporary interest in "making"--creating products by hand in a post-consumer, technology-rich environment for reasons ranging from personal fulfillment, to community building, to social and cultural critique. Through hardware hacking, open source software, crowdsourcing, alternative game creation, and the like, digital humanists have increasingly turned to making as scholarly practice. Here we seek to explore how feminist approaches to making and maker culture might--like "fun" in the theme for this conference--work as "a category of thinking and doing" that generates "alternate ways of living against" sites of social, economic, and political, as well as technological privilege. "Feminist Making I: Building Critical Contexts" seeks to contextualize elements of the maker movement from historical, cultural-critical, feminist perspectives. Maker culture opens the “black box,” rendering features of contemporary technology visible, tangible, knowable and adaptable through handiwork. Yet, it can still fail to foreground its own origins in institutions, ideologies and practices. In hackerspaces, maker faires, and online forums, communities gather to explore circuit bending, wearable computing, open mapping, Arduino, 3D printing, and the like--proliferating the sites and practices of invention. While these technologies may be new, efforts to subvert capitalist systems of control through craft trace to the nineteenth century and before, and to a diversity of persons and groups. In this roundtable session, short talks will be followed by significant time for discussion among presenters and audience, moderated by session chair Lauren Klein. The presentations are: Susan Garfinkel, "Soft Circuits and the Gendered Objects of Making." Making is not new, though rhetoric places it in the post-computer moment of the current century. Using the example of "soft circuits" conceived to make electronics appealing to women via textiles and fashion, this talk situates the origins of making in craft, in folkloric process, and in the gendering of objects in culture. Elizabeth Losh, "A Very Proper and Discreet Girl: Ideologies of Transparency and Gendered Computing Spaces." DIY circuits built with exposed sensors and microcontrollers seem to differ radically from slick mass-produced consumer electronics. Feminist critics of technology, however, argue that transparency itself is a strongly gendered concept. This talk looks at the visual culture surrounding sixty-five years of physical computing in the Los Angeles region to consider how the relations between men, women, and machines are represented. micha cárdenas, "Post-Digital Media: Trans of Color Feminist Praxis." Within and alongside white male and white feminist digital cultures, there exist older practices focused on directing technological creativity towards the lessening of social inequality and structural oppression. One of these is a trans of color praxis that rejects the binary logic of the digital and the privileging of western ways of knowing and creating. By exploring the legacy of maker culture through the lens of feminism, participants will interrogate the assumed distinctions between theory and practice, public and private, craft and skill, logic and affect, that too often frame interpretations of making. It is at the interface of such binaries that making negotiates its alternative agency. Susan Garfinkel, Library of Congress (Session Organizer) Lauren Klein, Georgia Institute of Technology (GA) (Chair) Susan Garfinkel, Library of Congress (Panelist) Elizabeth Losh, University of California, San Diego (CA) (Panelist) micha cárdenas, University of Southern California (CA) (Panelist)
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Autonets in Living as Form (Nomadic Version), Antioch College

I will be in Living as Form (The Nomadic Version), co-organized by Creative Time and Independent Curators International (ICI), and assembled in collaboration with Antioch College. Exhibition dates:  April 18- May 16th Opening Reception   April 18  7:00-9:00pm Curated by Sara Black, Jillian Soto, and Anthony Romero Guest Artists:  MRCC Compass Group and Micha Cardenas Living as Form (The Nomadic Version) is the flexible, expanding iteration of Living as Form, an exhibition curated by Nato Thompson and presented by Creative Time in the fall of 2011 in NewYork City. Lead project support for the original Living as Form exhibition was provided by the Annenberg Foundation, the Lily Auchincloss Foundation, the Danish Consulate, the Andrew W.Mellon Foundation, the Mondriaan Foundation, the National Endowment for the Arts, and the Rockefeller Brothers Fund. Additional support for Living as Form (The Nomadic Version) was provided by the Horace W. Goldsmith Foundation; the Andy Warhol Foundation for the Visual Arts; the Robert Sterling Clark Foundation; and the ICI Board of Trustees. LOCATION: Herndon Gallery http://antiochcollege.org/news/college_events
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Transborder Immigrant Tool at ZKM and Queens Museum

[caption id="" align="alignnone" width="730"] Transborder Immigrant Tool installation view[/caption] I don't post all of the Transborder Immigrant Tool exhibitions and events here on my blog, but they're mostly all posted at bang.transreal.org. global aCtIVISm at ZKM Karlsruhe 14.12.2013 – 30.03.2014 For some years now, a new form of world-wide activism driven by citizens (lat. civis) has been in evidence, as the word CIVIS highlighted in aCtIVISm emphasizes. It is a movement spawned by globalization, technological developments, and the expansion of art. Indeed, ever since the 1960s, art has generated new forms of audience participation in the guise of Fluxus, happenings, action art, and performance. Increasing audience participation in art has now invaded politics, as it were: as the new form of civil participation. Artistic and political demonstrations merge.   Border Art Research: Visible Borders, Invisible People, and the Transborder Immigrant Tool at ZKM Blog In 1995 the Border Research and Technology Center (BRTC) was opened; it is operated by Sandia National Laboratories, located in San Diego, California. BRTC works with Homeland Security, the U.S. Customs Service and Border Patrol, the U.S. Attorney offices, and law enforcement agencies to strengthen technology capabilities and awareness on U.S. borders. BRTC also works on joint ventures to identify technologies that will stop the flow of undocumented people crossing the Mexico–U.S. border, and is currently participating in a project to detect heartbeats of people concealed in vehicles or other containers. Nine years later (2004) b.a.n.g lab (stands for bits, atoms, neurons, and genes) in collaboration with Electronic Disturbance Theater 2.0 (EDT) started developing a border art and technology research center at the California Institute for Telecommunications and Information Technology (CALIT2), a $400 million academic research institution jointly run by the University of California, San Diego, and the University of California, Irvine, that would develop a counter-aesthetic and critical technology to disturb the border technologies that programs like BRTC were developing. Arte Útil Conversations: Amy Sara Carroll & Ricardo Dominguez Present “Transborder Immigrant Tool” Sara Carroll and Ricardo Dominguez, two artists in the The Electronic Disturbance Theater (EDT) collective, explore the development and usage of The Transborder Immigrant Tool (TBT), a GPS cellphone safety net tool for crossing the Mexico/U.S. border. Arte Útil Lab co-curator Adrianne Koteen introduces this work in light of the concept and criteria of Arte Útil.
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Keynote and Colloquium talks this month in Sweden and Toronto

I am deeply happy to share that next week I'll be giving an opening keynote at the Digital Gender: Theory, Methodology and Practice workshop in Umea, Sweden, and in the end of the month I'll be speaking in the University of Toronto iSchool Colloquium series: Feminist and Queer Approaches to Technoscience. Details below from the MA+P website! I'm getting ready for the cold in the north of Sweden! My abstract is below, I'd love to hear your thoughts on it, so please leave a comment. In March 2014, Media Arts + Practice PhD student micha cárdenas will be presenting her work internationally in Sweden and Toronto. She will be the opening keynote speaker at HUMlab at Umeå University in Sweden for the “Digital Gender: Theory, Methodology and Practice”  workshop. The workshop is a joined collaboration between HUMlab and UCGS (Umeå Centre for Gender Studies) at Umeå University, and will take place on the 12th -14th of March 2014. Cárdenas’s talk is titled Additionally, cárdenas will be speaking in the University of Toronto iSchool’s colloquim series “Feminist and Queer Approaches to Technoscience” on March 27th. The title of her talk is “Local Autonomy Networks: Post-Digital Networks, Post-Corporate Communications.” The series includes scholars such as Shannon Bell, Sandra Harding, Kavita Philip and Lisa Cartwright.   Here's the abstract of my talk for Digital Gender: Movement Knowledge: Science of the Oppressed from the Transborder Immigrant Tool to Autonets micha cárdenas Abstract From the uprisings in the Middle East to the global Occupy movement to the Idle No More movement to community mesh networks in Detroit, oppressed people are using digital technologies to organize and create new possibilities in the face of the impending, and already present, disasters of climate change and economic collapse. Elizabeth Grosz writes in Time Travels that “to affirm in full positivity the existence and capacities of (at least) two sexes—the project of sexual difference—is to acknowledge... that all forms of prevailing practices and of knowledge, including the most objective of the sciences and the most abstract forms of mathematics and cosmology, represent the interests and perspectives of only one sex.” The parenthetical “(at least)” is crucial here for a rapidly expanding notion of gender including transgender and non-western notions of gender, which Grosz fails to grasp in her work. In emerging developments I have participated in, such as the visionary politics of the Allied Media Projects, FemTechNet and the Trans*Hack hackathons, I see marginalized groups engaging in technological skill sharing and development that will transform the landscape from one driven by financial interest to one driven by people's needs. Working with the Electronic Disturbance Theater 2.0/b.a.n.g lab (EDT2), I helped develop the praxis of Science of the Oppressed. Inspired by Monique Wittig, Chela Sandoval, Augusto Boal and Critical Art Ensemble, EDT2 asked what could science be if it were made in the interest of oppressed peoples instead of corporations. My current project Local Autonomy Networks (Autonets) uses Science of the Oppressed to develop networks with the interests of women, transgender people and people of color in mind, to prevent violence against these communities. Autonets gestures in the intersection of the physical movement of dance and performance with social movements for prison abolition and healing justice. My work is situated in understanding, participating in and creating open, community based spaces of creativity to find new possibilities for social justice praxis.    
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