writing & research excerpts 



UX DEPRESSION



a worker drone confirmed suspicions that misery & depression is induced & designed in virtual spaces. algorithms don’t exactly center user experience, it's a deadbeat hustler doing the most for maximal profit. even the drones within are tired of collecting tears and converting misery to coins.agency is not completely lost when it is deeply connected to desire, knowing wtf u need & deserve.
  
techno-capitalism, desire & power play is the long & short of my lyric essay in the latest @forspacech mag.
      
thanks to Matthias Liechti, Valerie Keller &  translators Theresa Patzschke & saittham,the text is available in english & german. 

Digital Dysmorphia,But The Glitch is the Stitch. 




Or What Glitch Feminism Means For Trans*selfhood.

 
Legacy Russell’s Glitch Feminism presents a deeply existential offering— a good GF ( fine pun, don’t care) to  bodies exempt from exemptions. Many will come to understand the GF manifesto as an extension of queer-feminist discourse for now, the time after the internet, with even more upscaling technological inventions.

The book intersects Russell’s stories, with critical meditations on black and trans subcultures and artistic practices, poetry, and autotheory, in a swirl around lives that glitch in a world continuously insisting on singularity, stifling orders that stands as standard. In sewing “glitch”(to malfunction) and “feminism” (to be a human amongst others) together, it melds two positions, offering one plug toward gestures of transcendence. 

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On Being a KNOTTY Avatar!




Foucault began formulating an autopoietic subject capable of reflectivity and transformation, and external relations of transformation through a politics of desubjectivation. While the dialogue between Theodor Adorno (especially) and Max Horkheimer shuttled between thoughts that made their position on agency (thereby freedom) indeterminate—if not totally skeptical—splinters here and there kindle the possibility of a historically-suffused thinking subject who can reflect and then assert their negative subjectivity in their external world, creating alternate lifeworlds arising from the very cognition that is subjectivized.

Critical subjectivity, for increased potency, ought to be more than reasoning: feelings, too, figure. Through her subjectivity, Audre Lorde paved a richer conception of eros as power. In Uses of the Erotic: The Erotic as Power, she writes, “The erotic is a measure between the beginnings of our sense of self and the chaos of our strongest feelings. It is an internal sense of satisfaction to which, once we have experienced it, we know we can aspire.” Lorde’s eros provides a mode of reflexive agency and political drive through embodied experiences.

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Notes on the Algorithmic Underground


In recent years since an upsurge in predictive/algorithmic policing, there’s been many arguments on technologies, their long history of racial bias and why the illegibility of black bodies should stay that way. However, pre-deteremined invisiblity or hypervisibility in a way that is not determined by marginalized groups is far too risky for our technological futures. The notion of an algorithmic underground presents the autonomous condition, tactics of illegibility or opacity to surveillance technologies and policing softwares.
 

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Fairies in a Fourthed Earth



Tweet poems, how abstraction & fragmentation creates surreal landscapes nested around in cyberspaces. 

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I Cry, You Cry, We All Cry


Memes, meaning and network affect. 


My personal history of memes begins with a friend laughing at my pronunciation of meems as meh-meh. What was memes for a digital native of the early 2000’s was really a barrage of personalized image macros, piss posts, screenshots from text messages, comic stand-ups delivered in one image, or niche shit that “ just gets me.” While memes now mean just about any internet thing thing, fad, or slang that goes viral, this essay references the visual,intertextual or hybrid genre of memes.

Customary, as it is now, to trace an origin as long ago as 1976 to The Selfish Gene, by the biologist Richard Dawkins, where he defines memes as small cultural units of transmission, similar to genes, that spread from person to person through copying or imitation. Memes, its evolution, and meaning as it relates to the webbed nature of the internet requires the lens of the social and material dimensions of the internet. In How to do Words with Things, Bruno Latour provides the closest view to the warm bodied nature of memes—“things do not exist without being full of people, and the more modern and complicated they are, the more people swarm through them.” 

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