{"id":"cyberfeminism","no":541,"name":"Cyberfeminism","ja":"サイバーフェミニズム","era":"1991–2000s","family":"デジタル芸術","kind":"世界観","collection":"Dictionary expansion 26","addedAt":"2026-08-19","source":{"title":"Rhizome (New Museum) Net Art Anthology — A Cyberfeminist Manifesto for the 21st Century","url":"https://anthology.rhizome.org/a-cyber-feminist-manifesto-for-the-21st-century"},"reference":{"status":"verified","pageUrl":"https://anthology.rhizome.org/a-cyber-feminist-manifesto-for-the-21st-century","credit":"Rhizome (New Museum) Net Art Anthology — A Cyberfeminist Manifesto for the 21st Century","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/100%20Anti-Theses%20of%20Cyberfeminism.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:100%20Anti-Theses%20of%20Cyberfeminism.jpg","credit":"Old Boys Network《100 Anti-Theses of Cyberfeminism》1997 — Wikimedia Commons / CC BY 4.0"}]},"essence":"1991年にオーストラリアの VNS Matrix が名乗り、同じ頃イギリスの Sadie Plant も同じ語を使い始めた運動。宣言文はファックス、郵便、貼り紙、巨大看板、ネット投稿で撒かれ、身体を捨てて機械に入るという当時の技術像に粘液と性で逆らった。","cues":["太いサンセリフの各行が球面に沿って歪み、行ごとに大きさが変わる","淡いピンクの地に黒い文字という2色だけの版面で、中央に白い円が抜かれる","縁を埋め尽くす、放射状の毛が生えた目のような図像の反復","集団名が署名としてではなく、本文の一行として文の中に組み込まれている"],"intents":["反骨","反骨","遊び"],"works":["技術をめぐる展示や出版物で、清潔で無菌的な未来像に対置する版面をつくるとき","貼り紙、看板、ネット投稿と媒体を横断して、同じ1枚を撒く宣言を設計するとき"],"recipe":{"type":"太いサンセリフで組み、1行ごとに大きさを変える。行を球面に沿って歪ませ、整列という考えを捨てる。","layout":"中央に円を抜いてその中に文を詰める。縁は図像の反復で埋め、余白を残さない。判型を持たず、貼り紙にも看板にも同じ1枚を使う。","material":"淡いピンクと黒の2色に絞る。図像は身体の器官を思わせる有機的な線で描き、回路や格子のような機械の図とは対極に置く。"},"avoid":"図像だけ借りて言葉を穏当にすると、この様式の中身である敵意が抜けて、ただのレトロな装飾になる。","colors":["#EAD3EA","#FFFFFF","#000000"],"motif":"graphic","pair":["net-art","punk"],"study":["Rhizome の Net Art Anthology にある宣言文の図版と貼り紙の写真","1992年にシドニーの画廊の外壁へ掲げられた巨大看板の記録写真","身体を捨てるという当時の技術像に対して出された反論の系譜"],"en":{"essence":"A movement the Australian collective VNS Matrix claimed for itself in 1991, and which the theorist Sadie Plant named independently in Britain at the same moment. Its manifesto travelled by fax, by mail, as a wheatpaste poster, as a billboard, and as an online post. Against a computer culture that wanted to leave the body behind, it put slime and sex back at the centre.","cues":["Heavy sans lines warped over a spherical bulge, each line set at a different size","A two color sheet, black on pale pink, with a white circle punched through the middle","A tiled border of eye like organic forms fringed with radiating hairs","The group's name embedded as one line of the text rather than signed at the bottom"],"works":["Making a sheet that argues against the clean and sterile picture of the future in a show or a publication about technology","Designing a declaration meant to travel as the same single image across posters, billboards, and network posts"],"recipe":{"type":"Set heavy sans and change the size line by line. Warp the lines over a sphere and abandon alignment as a goal.","layout":"Punch a circle in the middle and pack the text into it. Fill the border with a repeated motif and leave no white space. Hold no fixed format, so one sheet serves as poster and as billboard alike.","material":"Hold to two colors, pale pink and black. Draw the imagery with organic lines that suggest bodily organs, set deliberately against the circuits and grids of machine imagery."},"avoid":"Borrow the imagery but soften the words and the hostility that is the actual content drains out, leaving nothing but retro decoration.","study":["Rhizome の Net Art Anthology にある宣言文の図版と貼り紙の写真","1992年にシドニーの画廊の外壁へ掲げられた巨大看板の記録写真","身体を捨てるという当時の技術像に対して出された反論の系譜"]}}