VNS Matrix, “A Cyber Feminist Manifesto for the 21st Century,” Unnatural: Techno-Theory for Contaminated Culture, ed. Matthew Fuller (London: Underground, 1994), 23.
Aleister Crowley, “The Vision and the Voice,” The Equinox, vol. 4, no. 2 (1998): 150.
Jack Parsons, Liber IL →.
Ibid.
Ibid.
Ibid.
“The conference is generally recognized as the official birth-date of the new science.” Daniel Crevier, AI: The Tumultuous Search for Artificial Intelligence (New York: Basic Books, 1993), 49.
Anna Greenspan, Suzanne Livingston, and Luciana Parisi, “Amphibious Maidens,” Ccru, Abstract Culture, vol. 3, no. 1 (1998).
Sadie Plant, “On the Matrix: Cyberfeminist Simulations,” The Cybercultures Reader, eds. David Bell and Barbara M. Kennedy (London: Routledge, 2000), 326.
Luce Irigaray, Speculum of the Other Woman, trans. Gillian C. Gill (Ithaca: Cornell University Press, 1985), 50; Plant, “On the Matrix,” 327.
Irigaray, Speculum of the Other Woman, 27.
Ibid., 23.
Ibid., 18, 22.
Irigaray, Speculum of the Other Woman, 22 (quoted in Plant, “On the Matrix,” 326).
Plant, “On the Matrix,” 327.
The isomorphic relationship between Irigaray’s reflective screen (la glace is both “ice” and “mirror” in French) and William Gibson’s “Intrusion Countermeasure Electronics,” or “ICE”—security software designed to protect data from hackers—in Neuromancer and other stories is frequently exploited by Plant and the Ccru.
Plant (quoting Irigaray), “On the Matrix,” 331.
Plant, “The Future Looms,” Clicking In: Hot Links to a Digital Culture, ed. Lynn Hershman-Leeson (Seattle: Bay Press, 1996), 132.
Ibid., 133.
Plant, “On the Matrix,” 333.
Ibid., 329.
Sadie Plant, “The Future Looms,” Cyberspace/Cyberbodies/Cyberpunk, eds. Mike Featherstone and Roger Burrows (London: Sage Publications, 1995), 63. (There are several versions of this text. This line isn’t contained in the version previously cited.)
Alan M. Turing, “Computing Machinery and Intelligence,” Mind 49 (1950): 455.
Sadie Plant, “Coming Across the Future,” Virtual Futures: Cyberotics, Technology, and Post-Human Pragmatism, eds. Joan Broadhurst Dixon and Eric J. Cassidy (New York: Routledge, 1998) 32.
Automata, dir. Gabe Ibanez (Barcelona: Contracorrientes Films, 2014); Ex Machina, dir. Alex Garland (California: Universal Pictures, 2015).
Plant, “The Future Looms,” Cyberspace/Cyberbodies/Cyberpunk, 60.
Nick Bostrom, Superintelligence: Paths, Dangers, Strategy (Oxford: Oxford University Press, 2014), Kindle e-book.
For a different, recent discussion on Ex Machina, see Lee Mackinnon‘s ”Love Machines and the Tinder Bot Bildungsroman,“ e-flux journal 74, (June 2016)
Sadie Plant and Nick Land, “Cyberpositive,” Unnatural: Techno-Theory for Contaminated Culture, ed. Matthew Fuller (London: Underground, 1994), 3–10; Nick Land, “Circuitries,” Fanged Noumena: Collected Writings 1987–2007 (Falmouth: Urbanomic, 2011), 298.
Plant, “The Future Looms,” Cyberspace/Cyberbodies/Cyberpunk, 63.
Irigaray, Speculum of the Other Woman, 53.
Sadie Plant, Zeros + Ones (New York: Doubleday, 1997), 3–4.
Plant “Coming Across the Future,” 31.
Plant, “The Future Looms,” Cyberspace/Cyberbodies/Cyberpunk, 62.
Plant, “The Future Looms,” geekgirl.com.au → (this is yet another variant of the text).