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Ubiquity, like complexity, is too easily and perhaps too often regarded as a thing-in-itself — an objectively occurring phenomenon of iworlds rather than a mechanism for making them or even remaking them in the image of the past.

This chapter examines ubiquity as a mechanism for remaking the past in the future and, specifically, for containing potentially unlimited possibilities for women in domestic and urban environments in which they are everywhere hypervisible, luminous , everyware 1 bound up in the lustrous luminosity of smart glass technology and everywear in wearables whose regulatory role is oriented to the reproduction of women as sexual objects and hyperproductive subjects. Through the gendered configuration of ubiquity, technology and time, I highlight not just the remediation of images and ideals from the s in futuristic industry visions of the early twenty-first century but the strategic value of indecision, or undecidability in feminist time-telling.

If it is the case that ubiquitous women emerge both in time — historical time, clock time, structured time, productive time, optimized time — and as time — where time is understood as creative evolution or as life itself — then it is necessary, I suggest, for feminist time-telling to incorporate conflicting concepts of women as potential and as potentia. I argue that potential and potentia are co-constituted and co-constitutive of ubiquitous women.


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It is not possible to choose between them, or to carry on choosing between them on the basis of a feminist ethics or politics. Skeptical about what these futures have already delivered in terms of intelligent labor-saving devices such as care robots and self-driving cars, Janet starts her day with a serious case of jet lag, juggles her job, her professional, personal, human, non-human and casual relationships and then has to figure out how to stop her daughter living the same unsustainable life on a whole other unsustaining planet.

What can writing still do? Is writing no more than a protectionist racket for the impotent I, the dreamt of and dreamt up subject of political theory now substituted by a world of objects, environments and materials as things-in-themselves? But who speaks and writes this world that dismisses its own wording and disavows itself as a futuristic fantasy and science-fiction his story?

The question of who writes and to what end partly answers the question of why write and to what end. Writing works not as the realization of fantasy worlds that require a suspension of disbelief, but rather toward the unmaking and remaking of them. Its role is, as it always was, both de- and reconstructive: neither negative nor affirmative.

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As a queer feminist praxis, writing reverses and displaces the gendered hierarchical dualism of naturalized entities like subjects and objects Haraway Its strategic value is that of reinvention rather than mere substitution her story never simply replaces his and it constitutes, as an action, in its present participle, a way out of the dialecticism that precludes the possibility of doing iworlds differently. Skeptical about what these futures have already delivered in terms of intelligent labor-saving devices like care robots and self-driving cars, Janet starts her day with a serious case of jet lag, juggles her job, her professional, personal, human, non-human and casual relationships and then has to figure out how to stop her daughter living the same unsustainable life on a whole other unsustaining planet.

Insofar as reality and subjectivity are always already mediated, what is at stake in the processes of unmediation and re-differentiation that have been traced in this book?

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This is an unknown restyle of Neural independently and secretly as we never knew about it made by NY-based Motion and Graphic Designer, Clarke Blackham. The value of craft after software sounds rampant sometimes, expressing the freedom of escaping repetitive taps and clicks to accomplish some assumed tasks.

iMedia: The Gendering of Objects, Environments and Smart Materials

The 8-bit aesthetics is among the strongest visual references connecting the analogue recent past with the omni-digital present, so why not adopt it to finally have some public art embedded in the present? The relationship between Andy Warhol and personal computers becoming quite popular during his last years has been only partially investigated beyond his Amiga works. And he told me that he would still send me one now.

And then he gave me a lesson on drawing with it.

The Gendering of Objects, Environments and Smart Materials

Harsh Noise Wally , is a sophisticated mashup mixing strips of Wally, the lazy and cynic colleague of Dilbert with some epic noise music extreme attitudes. Where there is some degree of convergence between masculinist and feminist thinking about objects, environments and materials, there is also divergence, conflict and the possible opening towards a politics of imedia. Presenting a lively manifesto for refiguring imedia, this book forms an often neglected gender critique of developments in smart technologies and will be essential reading for scholars in Communication Studies, Cultural and Media, Science and Technology and Feminism.

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