Re: [-empyre-] clarifications on what women

Thanks, Diane. I certainly do agree with you that it's important to seek as global a representation as possible, and your reference to ciberfeminista,Sub Rosa, OBN, etc. certainly does this. I'm wondering if any members of these collectives are lurking on this list and would like to elaborate on some of their projects, some of which are best represented on video, CD-Rom, etc. I did forward my last posting to my colleague, Maria Fernandez, who has been active in Sub Rosa.

The global issue remains to be tricky, which is why, I suppose, I'm less inclined to be hypercritical of Judy's book and appreciative of the contributions it does make. I was looking again at the online catalogue of the exhibition I toured from 99-01, Contact Zones: The Art of CD-Rom ( and recall the complexities and surprises of curating this show, which included a strong percentage of contributions from women artists. In '98 when I was planning this exhibition, there remained (and I think it still exists) a fundamental problem of access and outreach: listserves and web access seemed to cut off Asia and much of Latin America from English centered websites (still a major problem and challenge). The result was that, even after extensive efforts to solicit works from Asia and Latin America, I received only a few from Japan (none from Hong Kong, China, Tawain, Southeast Asia and South Asia) and only some works from Mexico (but not from Brazil, Uruguay, Chile, etc which now, thanks to efforts by Regina and others, are more present on the web). I've since been able to establish very exciting curatorial exchanges in China and Japan and Latin America (again, thanks to Regina) for the Rose Goldsen Archive of New Media Art but I realize that the Asian connections happened because of personal contacts (read travel and financial costs) outside our web circuits due to translation problems. Similarly, thanks to Priamo Lozada in Mexico City we were able to stage Contact Zones at the Centro de la Imagen, and translate the website into Spanish, but still had problems placing the exhibition in other Latin venues.

I guess I'm spinning this tale primarily to open discussion up to the complexities of dissemination, exhibition, and inclusion due to limitations that have tended to be built into our own communitarian systems. This, I suspect, is the kind of point that Diane means to be raising about the American prevalence of work in Judy's book. And it certainly raises important issues about the digital divide which many critics believe is exaggerated by a gender divide as well. Perhaps Judy might have something to say about these challenging problems, particularly as she faced them in assembling her book.


Timothy Murray
Professor of Comparative Literature and English
Director of Graduate Studies in Film and Video
Curator, The Rose Goldsen Archive of New Media Art, Cornell Library
Co-Curator, CTHEORY Multimedia:
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Cornell University
Ithaca, New York  14853

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