FLOSSIE2013 women & software libre

Flossie 2013 will be in London on the 8th and 9th of November at Queen Mary, University of LondonFlossie is for women interested in using open source as coders, artists and social innovators.

Two days of workshops, demos and exhibitions.

Flossie 2013

Flossie 2013 brings together FLOSS women developers, entrepreneurs, researchers and policy-makers, digital artists and social innovators for an exciting mix of talks, spontaneous discussions and open workshops. Flossie 2013 brings the benefits of open thinking to artist and entrepreneurs and the insights of diverse innovators to FLOSS development.
Flossie 2013 is a two-day event for women who use or are otherwise interested in opening and diversifying technology to drive innovation, to share and inspire. For us, diversity is the solution - not the problem!
Programme 8th-9th November 2013 
Flossie proudly presents our second conference – filled to the brim with exciting talks, workshops and discussions bringing together women using open systems in technology, arts, culture, social innovation and entrepreneurialism. There's plenty of open space alongside the more structured elements so that participants can also be organisers and make the space truly our own. 

Laura Gracia

BA History of Art UB University of Barcelona, 2006. MA Curating New Media Art MECAD 2007.Curating, Communication and Criticism, Central Saint Martins, University of Arts London 2009. MA Media Art Histories Vienna 2010. PhD Art and Technology in Public Space, forthcoming. Has exhibited: Field Experimental Generative Animation London 2009. Arco Cinema Madrid 2010. Crisp London Los Angeles 2010, Sound.art Event, VisualArtSpace, London 2013. Has been at ISEA Conference Dortmund Germany 2010. Is curator invited by MOTA Museum of Transitory Art New Media Art, Belgrade, Serbia 2011. Has been awarded by MACBA as Researcher in Residence at Centre d’Estudis Barcelona. She is developer of the research project entitled Spatial Aesthetics, regarding the city and the future technology. http://www.flossie.org/content/laura-gracia    lauraplanagracia.blogspot.com http://lauraplanagracia.wordpress.com/ 

sound – body – gender

1/ Intro about me

I am specialised in Electronic Arts. I have studied a MA in Media Curating at MECAD Barcelona, directed by Claudia Gianetti, and MA in Media Art Histories supported by MIT, Leonardo Society and UNESCO (with Oliver Grau, L.Manovich, E.Shaken, Ch.Paul, etc). I have been lecturer at ISEA Berlin 2010, at Belgrade Museum of Contemporary Art 2011, and researcher awarded at MACBA Barcelona 2012. Next, I am curating an exhibition at MCA Bogota entitled Digital – Analogue The pioneers of Electronic Art, with Roy Ascott and Casey Reas. I am freelance curator since 2009, based in London. I am developing Spatial Aesthetics, a research project about technologies and space. Actually I am participating at the Digital Arts Department, in Rose Bruford College, teaching a module about Sound Performance.

I will introduce here the paper sound – body – gender in occasion of flossie
I have upload this simply wordpress with links to some examples and with an original photo from an artwork of eulalia valldosera, an artist born in Barcelona, her works is questioning the role of the women in oppressed patriarchal society, anxiety and violence are her preferred topic.  

I apologise for my misspealling, im not speaking in my mother languge, so I will read from mynotebook

2/ a (brief) history of gender in relation women – art – technology.
Gender is represented in the ancient Greek, in the poems of Sappho. Involved in Political activities, in the education of arts, she wrote homoerotic content with a strong symbolical external landscape as a reference of her body and emotions. The body is central in her works:
To Atthis, Though in Sardis now,
she things of us constantly
and of the life we shared.
She saw you as a goddess
and above all your dancing gave her deep joy.
Now she shines among Lydian women like
the rose-fingered moon
rising after sundown, erasing all
stars around her, and pouring light equally
across the salt sea
and over densely flowered fields
lucent under dew. Her light spreads
on roses and tender thyme
and the blooming honey-lotus.
Often while she wanders she remem-
bers you, gentle Atthis,
and desire eats away at her heart
for us to come.
--Translated by Willis Barnstone

Women artist have been recognised by Anthropological studies rather than History or History of Art. One historic example of a woman that was hardly ever recognised was Artemisia Gentileschi. Painter from the 17th century, she was raped, and humiliated by her father and brothers who were painters, too. She was the first woman recognised and accepted by Academia, but considered a curiosity rather than an artist. She was omitted from the historical discourse according masculinity roles. These Patterns, models and ideology demonstrate that the subject of power is a determination for the evolution. Woman and woman artist have suffered exclusion, racism, fascism, obliteration, and prosecution.  

Another example of woman artists is Ada Lovelace. Augusta Ada King, Countess of Lovelace and daughter of Lord Byron, the writer. As a young adult, she developed a deep interest in mathematics. She had a particular interest in Charles Babbage’s work Analytical Engine. Woman, Mathematician, and Code developer, she is considered one of the first software developers, introducing some notes at the Charles Babbage paper work. He was the inventor of the Analytical Engine, one of the first mechanical computers. Lovelace was fascinated by the creative and scientific computer-generated music machines such the Analytical Engine or the calculating machines. Both were developed through combinatorial laws and systems (which in future will develop computer graphics and algorithmic composition). What Ada Lovelace did adding to the Analytical Engine’ papernotes, was the beginning of the software as a language. In dOCUMENTA (13), Ada Lovelace was honoured by Joasia Krysa, curator, academic and independent agent.
The homage included a full reproduction of Ada Lovelace famous “Note G,” one of several notes that supplemented her translation of a text by Babbage’s research. Note G contains an algorithm that functions as software to enable Babbage’s Engine to perform computing processes, and is regarded as the first computer program. While Note G expresses the author’s doubt about a computer’s capability to develop what we would call “artificial intelligence,” in other places she foresees that computers could go beyond pure calculation. In her thinking, Lovelace “managed to combine scientific rationalism with subjective imagination.” Additionally to Note G, the homage in Documenta13 contains selected transcripts and reproductions of letters exchanged between Ada Lovelace and Babbage, as well as her sonnet “The Rainbow.” Ada Lovelace (1815–1852) was an English writer.

Another poet, Sylvia Plath (born 1932 - dead 1963). She lived a miserable life, tortured by the death of the father, and feelings such suicide, depression, trauma, fear and questions about the internal landscape. She represents the anger of being both betrayed and powerless. Heroin and martyr of feminist movement, she supported the idea of the death of the father, which will be developed by Surrealism, and understood as anti-colonialism and anti-paternalist society based in ancient regime traditions. She positioned women artists against this social constraint. Finally, she created poetry as an image mirror from her inner body.

Simone Weil, anarchist, activist, feminist, nihilist, she is known for her fight and struggle to death. In her works as a philosopher declares freedom, knowledge and passion for justice as a civil right. Against fascism and communism, was one of the first anarchists to spread the voice against the dictatorships regime. Before her death, she was suffering malnutrition and inanition; she was supporting the working struggle in the automation industry in Spain collaboration as a worker. Then, she travelled to US where she began to express sympathy for mysticism, but declaring herself iconoclast. She returned to London where died 34y.o. in 1943.

Following, other women artist, the most impressive production is in surrealist scene represented by Frida Kahlo or Remedios Varo. Their discourse is against policies of masculinity and the establishment of models excluding female art. Long time under repressed conditions, female sexuality has been devoted to pregnancy or to give born, rather than to social policies of development, improvement and progress.

During the 70’s, Conceptual Art developed practices in performance art, experimental film and installation allowing the birth of feminist critique. Feminist interpretations of women artists emphasises on sexuality and eroticism as a defiant criticism of patriarchal social and cultural norms. Women's identity is opposed to the tradition. Fascinated by the sensuality and the potential of human sexuality, broking with the social conventions and supporting the social revolution of the new ubiquitous technologies, video, sound, internet...  Examples are Valie Export, Natalia LL, Charlotte Moorman, Laurie Anderson, Sanja Ivekovic, Lygia Clark, Yoko Ono, etc.

Valie export: the voice as performance, act and body -  2007 -  venice bienale
The voice is suture, the voice is seam, the voice is cut, the voice is tear, the voice is my identity, it is not body or spirit, it is not language or image, it is sign, it is a sign of the images, it is a sign of sensuality. It is a sign of symbols, it is boundary. It speaks the "split body," it is hidden in the clothing of the body, is it always somewhere else. http://www.valieexport.at/typo3temp/pics/d71fa3aefa.jpg

Contrary, the fascism continues to establish a class society, where female pattern remain conservative and following the paternalism patterns. Photo by Antonio Sánchez Casado (ed.) the subtitle summarises: The Spanish Kitsch. An approach to the desire and eagerness to appear and feign in our country, El Papagayo, Editorial Temas de HoyMadrid, 1988.   http://soymenos.files.wordpress.com/2013/10/foto_paca_low.jpg

During the 80’s and 90’s the implosion of new Technologies such video, Internet and robotics have brought new ideas, needs and thoughts. The proliferation of works using virtual images and female body is very common. Haraway – Butler – Valldosera – Nicole Stenger are influenced by MRI magnetic resonance imaging, medical devices, and radio diagnosis apparatus for vision. In its research, the artworks revisit the concept of body as a primary creation belonging to women, birth, creation and universality. This is a post-cultural and post-media determination; influenced by cyberspace and image science they produce bodies with no shape, no border, in a connected network.

Nicole Stenger Gallia (1987-88) is Stenger's first 3D movie, and already displays many of the distinctive features of her future productions: color, rhythm, recurrent sequences and vibrant soundtrack. She is a French born American artist, pioneer in Virtual Reality and Internet movies. In 1989-1991 she was a research Fellow at MIT. In 1991-1992 she was a Visiting Scholar at the Human Interface Technology Laboratory in Seattle https://www.digitalartarchive.at/nc/home.html  http://www.nicolestenger.com/internet-unicorn.htm

Following, Gender Art Net considers the relations between Feminism and internet, creating the Gender(ed) Cultures working with the “Web”, text, image, sound, video, animation, interactive works, and other forms of art with technology. According guest editor Jennifer Chan, the imbalanced history of representational structures upheld by museum and academic art institutions run up against the optimistic intentions on the internet. The majority of Wikipedia editors are males. Ideals of masculinity and femininity are still dominant in online communities. LaTurbo Avedon (actually participating in The Wrong Biennale, curated by Chiara Passa, participating in FLOSSIE, too).
Cyberfeminist collectives of the 90s’ declared the feminist networked practices with artists such Netochka Nezvanova and the In Jack Judith Halberstam, "Automating Gender: Postmodern Feminism in the Age of the Intelligent Machine", Feminist Studies, Vol. 17, No. 3. (Automne 1991), 440.

A part from gender art net cultures, there are other practices regarding uses of internet such Live Coding. It is formed by developers, codebreakers, hackers and artists. In the publication “ASCCI, Floss plus Art”, by goto 10 collective, with texts of Chun Lee, Fabianne Balvedi, Florian Cramer, Sher Doruff, Nancy Mauro Flude, Olga Goriunova, Dave Griffiths, Ross Harley, Martin Howse, Shahee Ilyas, Ricardo Lafuente, Ivan Monroy Lopez, Thor Magnusson, Alex McLean, Rob Myers, Alejandra Maria Perez Nuñez, Eleonora Oreggia, oRx-qX, Julien Ottavi, Michael van Schaik, Femke Snelting, Pedro Soler, Hans Christoph Steiner, Prodromos Tsiavos, Simon Yuill. In page 14, Pedro Soler, writes: the artist work to change our perception of the world. She digs into the medium and techniques, experimenting and developing. …. This change in designation and terminology links gender with technology, and supports the post-critique based in new linguistics. http://pcm.peabody.jhu.edu/~gdw/stdmp/docs/FLOSS+Art.pdf

This is the Free Libre Open Source Software, developed by Richard Stallman. GNU – lynux – ubuntu are part of the free software foundation. It is developing practices of new methods of production and distribution through free software. Avoiding copyright licenses that harm creativity and betting for free defence and licenses models. This is Free Culture. Is supporting very low prices, is cheap and supports free distribution. It is against policies of market, corporations, capitalism, taxes and borders in pay. This is Art vs money. FLOSS is for artists, performers and musician. It is about creation facilitating qualitative works. This is Resistance because there is an ideology behind each technique. FLOSS supports a methodology of working collaboratively. One of the women pioneers of  Free Culture is Simona Levy, sociologist and activists, she is the director of Free Culture Forum, a representation for the networked cultures against the Copyright law, developing structures and strategies, manifestos, and devices for Copyleft through Hacktivism practices and denouncing abuse of power in China or Russia where activist groups as Pussy Girl Riot have initiated performatives practices against governmental actions.

More groups participating in the development of free culture,
Femmes et logiciels libres ,Free libre open source working women groups.

Piksel10, is a Bergen, Norway, based festival supporting free open source practices.
Phantasmata – Eleonora Oreggia. Phantasmata = n. pl. phan ·tas ·ma ·ta, from Greek phantasma. Images of the soul, mental images, something existing in perception only. Mental imagery (varieties of which are sometimes colloquially refered to as ‘visualizing,’ ’seeing in the mind’s eye,’ ‘hearing in the head,’ ‘imagining the feel of,’ etc.) is quasi-perceptual experience; it resembles perceptual experience, but occurs in the absence of the appropriate external stimuli. Description = Empiric noise-at-a-distance, electronic circuits, pulsating lights. Instructions = Beware of your ears, close your eyes. Disclaimer = If you think this performance may offend you, please call an Immortal. http://xname.cc/phantasmata

Regarding live coding practices, there is Shelly Knot, project Coordinator in Trampoline: Agency for Art and Media, developer in Network Music Festival and Composer/Performer/Musician/Improvisor in BiLE (Birmingham Laptop Ensemble). In Nov.29.2013, an experimental collaboration with shelly knotts at the zeppelin festival in Barcelona explored the nature of digital environments in the context of live coding from mutually augmenting perspectives. She said: we attempt to create an audiovisual data-feedback loop by writing code live on stage and exchanging information over the network. http://tehis.net/  . Here is a controversial discussion about women in coded culture, free -libre culture, software art, between alex mclean, because of a lack of representation of women in live coding. http://shellyknotts.wordpress.com/

It is not about aesthetics or techniques, but it is a non-material experience, a definition of universalism and creation. If the result of the work is the most optimal, the more nearly is the audience to receive an answer. According body – sound –gender, the lack of representation of woman artist in live-coding, in art culture, and generally, in society, is because the models of production, the creation and the development have put them behind the masculinity. Contrary, understanding creation and universalism, practices of body and technology change the mentality, and allow a new path of evolution.

More live coding practices from Algorave
Alexandra Cardenas  
Norah Lorway

Answering the paper, body – sound- gender, artists must beg for the media-ecology. Post-media culture and cinematic era, with its origins in 19th century, is based in symbolic code of representation based in images, because the image is immediately preceding the object. This has its roots in iconographic culture, based in the consumption of relics and objects. These are analysed by Foucault and Adorno as the symptomatic pathologies of capitalism: object and image reproduction. Contrary ecologies of sound, are begging for immateriality, for the body without organs, as in Musil, for androgyny models and incorporeal ecology of media.  This body is a reproductive space, an organ. Is an immaterial system that resembles sound spectra, and is represented by mathematics and codes. Body is mathematics, language, and code.
Chun lee. 0xA is a band not made out of people, but objects and patches. Snippets of codes that bleeps and blinks are added and modified in the online repository, where it all began. As the repository grew, 0xA evolves with it. Aymeric Mansoux, Chun Lee and Olivier Laruelle are the current active contributors. They have performed 0xA across Europe, North America and Asia in places like gallery, clubs and festivals. expr~ is the first music release of 0xA, consists of retro sounding tracks made almost entirely with the [expr~] object in Pure Data. No tweaking of number boxes and sliders, no clever generative algorithms, just switch the audio on and listen. http://ia600405.us.archive.org/0/items/GOSUB10-004/GOSUB10-004-01-0xA--Winter_solstice.ogg

4/ sound
Hence, the interesting is to understand universe as a body through the experience of knowledge using sound and technology, but conducted through the inner vision, an oppressed model for science since 17th century, Sta. Teresa became a virtuous example, visionary and writer, from the Spanish baroque. According Eugeny Morozov, the digital network, the connections in between terminals could be considered as a virtual belly to rent, a digital utopia, where total emotion, summa democracy, flows into a thick universal network of citizens, fighting against oppressive governments and the figure of father (abuse, power, colonialism, rationalism, tekchne, etc). 

At this point, sound is an unbound, immaterial and universal experience. It is one of the media for distributed communication. Artist such Iris Garrelfs produces to express the oppressed voices. Published in muse ruole, a platform for women in experimental music
Georgina Brett
Afrodita Psarra -

Looking through an answer for the question body – sound – gender, it is known how practices consisting in cartography, embodiment and creation are using body synthesizers to give a response with their own body. Most of them are activist against mainstream and their performances are shockingly shaking the audiences.  

The Ghost Taco is a piss-take on experimental music and performance art being “self-indulgent”. It's a Dadaist feedback loop: the sound of Tristan Tzara rolling in his grave. The serendipitous evolution of Carolee Schneeman’s Interior Scroll, The Ghost Taco gives feminine semiotic presence sonic vagina dentata. It is done in the spirit of Annie Sprinkle’s Masturbation Ritual and the work of Augusto Boal. It’s about the suspension of disbelief—the trust game implicit in forming an audience of any size and the risks taken when we engage stereotypes or try to move past them. It is a call to arms to cut the bullshit. It is cloyingly sincere and caustic slapstick improv with tits.
Devon Michigan is an intermedia skid from the Coast Salish Territories of Western Canada, currently living in Montreal. Her background is in underground venue management, collective/grassroots anti-oppressive organizing, witchcraft, and Dada/Surrealism. She performs as The The Ghost Taco and Dirty Wizard, does vocals for the doom band Xothogua, and organizes weird shows with the wizard sound system. http://theghosttaco.blogspot.com   http://ghosttaco.bandcamp.com/  http://ghosttaco.bandcamp.com/track/live-at-novo-apocalypso-full-2013

Paula pin, diy synthesizers, transnoise, performance
Amaria Noise

Following this aesthetic, body universe is a reaction against the perception of the system machine; the century of industrialism influenced the modern vision of space. Considering theckne as superior in the creativity, Industrialism, serialism and machine system have also been criticised for Adorno, Lacan and Foucault. Confronting the technological way of creation, techno-science is offering an image of space as a body, a lively organism, a body of reproduction and creation. This image is connected to techno-science, where masculine models of modern theckne (like logic rationalism) are surpassed by other categories, the myth of androgyny, biology, female body experience, mutants, etc….

Diana McCarty wrote "Mapping Feminism" a conference in the occasion of ISEA 2009, about the role of the women in the evolution and development of New Media Art. She is contrasting the biological-ethical discourse against the military colonialism produced by the paternalist society under capitalism and neoliberalism. The feminine role in creation is directly linked to poetics of origin, practices of carrying life, discovering the original place or the space of original production. Acording this, colonialism and euro-centrism are opposed to "terra incognita", land of the post-colonial freedom and the social revolution. "Mater naturans" is understood as the origin and definition of creativity, memory and sign on the space. So then, art has developed practices that are capable of bringing back the heterotopy to life, death into life. http://museruole.tumblr.com/dianamccarthy-en

Regarding techno-science, technology and feminisms and the participation of women in Technology, there is a part of gender art practices that ended in queer or pornoterrorism. Really combulsing beauty and bodies of decay, they option is trans-gender, they cross-boundaries, and practice experience as a lively methodology. Most of the artists and main figures are developers of devices, using electronic Do it yourself circuit bending, open source and free culture. Some name are Diana pornoterrorista, lucia egaçña, maria llopis,

According to Dpi Feminist Journal of Art and Digital Culture http://dpi.studioxx.org/en the magazine about technology and feminisms, all the varieties of art and digital culture are presented in the HTMlles - Feminist festival of media arts + digital culture http://htmlles.net/ that gives to new technologies a feminist perspective. It answers socio-political questions about boundaries of artistic and feminist practices. Is also a feminist artist-run centre for technological exploration, creation and critique. Is based in women's web art Presentation, trans and gender non-conforming artists' independent media artworks  It present this idea of Zero as deterritorialization, Zero as noise. This is the future against neoliberalism, "post ideology" of class, race and gender. It is against the desert of semiocapitalist desires and the noise of the overproduction of commodities and intellectual property. It detects biosurveillance as a security war on the net. Is against the implementation of financial insecurity and declares the afrofuturism, the cyberfeminism and queer futurity, and cyberpunk as the resolution. In a future in crisis, dystopia will not be oppressive, but in a struggle in order to (re)build community and reunite technology, science and progress. Afrofuturism, chicanafuturism, feminist cyberpunk, utopian and dystopic cyberfeminism and queer futurity will defend the self-identified women, trans and gender non-conforming artists, curators, activists, collectives, and organizations
Micha cardenas http://vimeo.com/12219412

6/ biology, bio-politics, Foucault.
The Body Politic of subRosa. epidermic! Is a DIY Cell Lab, by subRosa.itis about activism community culture   cyberfeminism media art  politics  social theory
They take Mary Shelley, Frankenstein as an example of cyberfeminist. This considers   science, technology, and social activism. Is about information and bio technologies on women’s bodies. subRosa's is a trans-disciplinary performative practice based in biotechnology and techno-science. It developes Moreover, According, Carolyn Christov-Bakargiev’s dOCUMENTA (13), Donna Haraway and Vandana Shiva, dOCUMENTA (13), biotechnologies or feminist subjectivities are adeclaration for the embodying feminist content and practices, most of them transferred via new technologies on women’s sexuality. Such mapping new possibilities for feminist praxis,  Feminist collectives are starting using ART(Assisted Reproductive Technologies). They use the definition distributed body, the socially networked body, the cyborg body, the medical body, the citizen body, the soldier body and the gestating body. this is resistance and activism. Developing workshops and lectures, feminist collectives spread matters regarding patenting and licensing of DNA sequences, engineered genes, stem cell lines and transgenic organisms. Activists create feminists embryonic stem cell research lab. Finally, biotechnology is effecting the female identity in general. Michel Foucault describes the related term “Biopower” as the governance of population through the control of the body, the mind and every aspect of human life, particularly those directly related to subjectivity. Michel Foucault The History of Sexuality Vol 1 p.140 (1976)http://www.gsa.ac.uk/life/gsa-events/events/f/faith-wilding/

Feminist & Queer Approaches to Technoscience" is a SSHRC-funded colloquium series hosted by the Faculty of Information (iSchool) at the University of Toronto (UofT), which runs from November 2013 - April 2014. UofT co-sponsors include the Bonham Centre for Sexual Diversity Studies, the Department of Comparative Literature, Department of Visual Studies, the Centre for the Study of the United States, the Institute for the History and Philosophy and Science and Technology, and the Women and Gender Studies Institute. The colloquium series examines the current state of feminist and queer approaches to technoscience, including cyber-feminism, eco-feminism, postcolonial technoscience, data and information, epistemology, object-oriented ontology, critical design studies, new media art, hacktivism, artivism, embodiment and technology, performance and technology, and visual culture in technoscience. Public talks by Sandra Harding (Nov. 14), Anna Watkins Fisher (D ec. 5), Lucy Suchman (Dec. 12), Shannon Bell (Jan. 16), Lisa Cartwright (Jan. 30), Jennifer Jenson (Feb. 6), Shaka McGlotten (Feb. 13), Michelle Murphy (Feb. 27), David Phillips (March 6), Vera Frenkel (March 13), Kavita Philip (March 20), micha cárdenas (March 27), Zabet Patterson (April 3), and Janine Marchessault (April 10).

Following, more practices in Techno-scientifism are giving an evolutionary model of progress based in commodities, lucrative, fabrics and industries of new human species. It traffics with organs, sperm farms, women who rent their bodies. It develops industry corporations that are part of the capitalization of power; they represent the bio.medical science privatization, damaging hormonal treatments that probably are damaging evolution and etichs. Furthermore, these are causing social exclusion, poverty, etc.… the biotech industry and the Scientific research centres develop stocks, farms, and redistribute biological resources like cells, seeds, sperm, eggs, organs and tissues. This is the biotech market in a biotech network. These technologies and scientific protocols need to be controlled under cultural, political and ethical codes that will come through the biotech revolution or the feminist science.  Cyberfeminism and Biotechnology, is strongly criticising the biotech industry and the mental model of evolution that corporation are proposing. These new biological entities are processing new molecular genetic engineering, with stem cell cultivation, cloning, and transgenics. bio-artists and bio-hackers give another point of view declaring the bio-science practices racist and unfair. the biotech corporations create restriction and access to most of the population. the selection process is exclusive, elitist and almost totally biased ideologically. They are using human embryos, trans-species and plants. The biotech industry have an open front with bio-art, DIY biologists open science culture, biopunk science fiction and high-tech humanity, following Michel Foucault’s, Biopolitics, and Haraway’s, myth of the cyborg.

So, sound - body – gender is answering question about vision and space, it relates cyberspace with body females, universe creation, birth and body organism system

6/ data
Finally, data from n.paradoxa and k.t.press is stating about the volume of women artists.  One of the most distinctive features of “contemporary art” in the last 20 years has been the rise of women artists from many different parts of the world in international exhibitions in a scale unprecedented in the 20th and now 21st century. Normally treated as an alienated and horror, when talent is supposed to transcend any social grouping. Another point, is how culture industry has declared females “originality” as worse “genius”. Despite progress and freedom, the difficulty women still encounter in her career progression is very common. The presence of women in art world is represented in these data:
- 13.5% of works by women in Federal Art Collections
- 18% of female professors at Art Universities
- 22% of female directors at Art Museums
- 27% average of female percentage at exhibitions in art museums
- 32% of honorary prizes in the visual arts are won by women
- 42% of all freelance employees in the visual arts are women
- 55% of students in the visual arts are women
- 22% of female artists at Documenta X (in 1990s: the 29% in documenta XI, 46% in documenta XII, and back to 38% in documenta XIII.)
Data by Katy Deepwell, Editor of n.paradoxa

More data about Women in music industry from BBC:
Mandy Parnell, mastering engineer of Vampire Weekend and Bjork declares that there is any women in mixing desk, it is thought women are not attracted to the technical side of music, because of electrical engineers implies lots of physics. They rather perform sound. The female participation in social industry or music industry is affected by the evidence of a lack of models.
- PRS 13% of  members are females
- Music Producers Guild only 4% of members are women

- Hannah Reid, from London Grammar, within record labels there are not many women. I find it weird; it is just so filled with men. I have never worked with a woman.
- Chloe Howl, I have never worked with a female producer. They are never in recording; most of them are all men.
- Only 3 of the best producers nominated are women in Music Industry 
The producer of Queens of the Stone Age, Trina Shoemaker is asking “where are all the women behind the scene in music?”
Sinead Garvan, from Newsbeat, music reporter, says Adelle, Amy Winhouse, are among the best selling artists, but the British music industry is following masculine patterns, is dominating the scene.