Jennifer Chan
Since 2010
Works in United States of America

brief description of self
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Rhizome Today

The video does an interesting pun-play on the phonetics of "ai" which people predominantly associate with love in the first main tone (there are four tones for a word in Chinese, each would mean a different character with a vastly different meaning)

As we hear "cancer baby" she flashes the Chinese character for "love" (愛) (ai) with one for "cancer" (癌) (ái) (at the end. "love/love/love/ love/ cancer!" In an interview she said she was trying to make cancer cute.

Check out the UTERUS MAN video by the way. I believe that is her sci fi magnum opus.


Getty Images: Still Kinda Sexist?

Agree. Analyzing an argument for what it leaves out and doesn't do, instead of what it achieves is kind of red herring imo.

The existing economic conditions demand women to be complacent with being overworked && underrepresented, overworked && parenting, overworked && un(der)paid in order to stay in work... I don't think radical refusal (of work) is an option for precarious positions many women fill in the cultural and service industry. Admin and teaching come with low turnover and little upward movement and such a heavy reliance on professional networks... can you really act out? I don't think <i>Lean In</i> was insinuating that women weren't working hard enough, but that they already do and that they could boast their skillz more without feeling like a target for negative attention. To Sandberg this seems like a change worth making.

I think dis images were made to tickle the artistic eye :)
It's photography about stock photography. They probably wouldn't be the first freelancers and advertisers would approach. I think this article could be stronger with suggestions of how stock-photography-proper could adequately and diversely represent women's working conditions...


Crazy, Sexy, Cool

Sat Dec 14, 2013 00:00 - Wed Apr 30, 2014


Anthony Antonellis, Kim Asendorf, LaTurbo Avedon, Andrew Benson, Jon Cates (with Ei Jane Janet Lin), Andrea Crespo, Kate Durbin, Emilie Gervais, Gaby Cepeda, Carrie Gates, Shawne Holloway, Georges Jacotey, Matthew Hillock, Faith Holland, Nick Kegeyan, Rollin Leonard, Chiara Passa, Absis Minas, Rea McNamara, Sara Ludy, rosa menkman, Lorna Mills, Jaakko Pallasvuo, Tristan Stevens, Ben Valentine

CrazySexyCool is the name of TLC's second studio album. Selling over 23 million copies worldwide, it was the best-selling album by a girl group in the United States, and the second in the world by a girl group after Spice Girls' Spice. My favorite TLC member was Lisa Lopes and my favorite Spice Girl was Sporty Spice. In my twelve year old mind, Sporty Spice was the whole package: crazy, sexy, and cool. I was obsessed with finding everything I could know about her.

In the same vein of passion and interest, sex and gender exist heterogeneously on the internet, from the carnal and kinky to the paraphilic and asexual. I invited artists to make gifs of what they thought would challenge or intensify existing ideas of gender on the internet. What I received: tits, yoga, rocking people, dogs, cybergirls, cocksucking, to name a few. It is entirely possible viewers don't think anything on this reel is crazy, sexy or cool. My mental boner remains flaccid as I scour the web searching for erotic stimuli. Nothing ceases to amaze or titulate anymore; there is constantly too much sexy in the media, in my mind, and at the club. What becomes of interest to me now is less so the content, and more often the artist's gesture of appropriation as a considered act of celebration or subversion of sexuality and sexiness.

"What are you into?


.dpi Feminist Journal of Art and Digital Culture: Gender(ed) Cultures on the Internet

Fri Sep 13, 2013 00:00

Montreal, Canada

Themed Section: Gender(ed) Cultures on the Internet
Guest Editor: Jennifer Chan

In the Themed Section of its 28th issue, .dpi is looking at the internet as a heterogenous space that allows for the deliberation and challenging of gender ideals.

- See more at:

On the internet, like-minded users find communities of interest based on mobilizing conversations around feminism and masculinism alike. Donna Haraway and Coco Fusco suggest that the early internet may have precipitated emancipatory potentials for the performance of gender, as receding boundaries between bodies and machines would allow for historically invisibilized and marginal gender subjectivities to be heard. Conversely, the imbalanced history of representational structures upheld by museum and academic art institutions run up against these optimistic intentions on the internet. In light of a vast majority of Wikipedia editors identifying as male and recurring uproars over representation disparity in video games and net art, the gaps in representation of women and queer people in technology and new media art remain unexplained and unresolved. On one hand, the complex, intertwined relationship between social discourse and representations of gender online could be examined, since rigid ideals of masculinity and femininity are still dominant in online communities like OKCupid et AskMen and MPUA (pickup artists) forums. On the other, artistic practice that co-opts and/or questions these definitions may open doors for new ways of understanding the social construction of gender.

While Cyberfeminist collectives of the 90s sought to specifically infiltrate the male-dominated arena of, feminist networked practices are pluralist today. Early artistic users such as Netochka Nezvanova and the late LaTurbo Avedon exploit the apparent anonymity of networks to project unstable personas and interests. Nowadays, online feminist critique reflects gendered realities and aspirations of users, ranging from subversive pop cultural remix to latent commentary in image aggregation on tumblrs. Elsewhere on the internet, honest writing by bloggers and writers such as Karley Sciortino (Slutever) et Marie Calloway have invoked blogosphere uproar over the “correct” artistic self-representation of female sexuality. Ultimately, binary notions of gender (masculinity and femininity) as an acculturated performance of imitating socialized ideals manifests in technology, and is also a product of technology. Yet these conventions are rendered unstable by user deliberation of such representations within the informal space of the web (1). What kinds of practices and representations are currently important to women and queer people? What conversations reflect the realities of gender distribution in art on the internet? What would a truly postgender online environment look like? What kinds of uses of the network breach existing ideas of bodily performativity?

Submission of completed articles may include (and are not limited to):
- analyses of queer, transgender, and/or heterosexual culture online;
- networked art practices and conversations on feminism and queerness;
- descriptions of non-academic, artistic and social feminist conversations and practices facilitated by the internet;
- the gendered structure of the internet;
- feminist analyses on internet subculture;
- interviews with creatives who work within related themes;
- statements and manifestos;
- alternative histories of online feminist art practice.

Completed texts and/or projects by interested participants of all sexualities and orientations are welcomed.

(1) Jack Judith Halberstam. « Automating Gender : Postmodern Feminism in the Age of the Intelligent Machine », Feminist Studies, Vol. 17, No. 3. (Automne 1991), 440.

To Submit

.dpi is looking for submissions relevant to (or stemming from) “the Web”, including text, image, sound, video, animation, interactive works, or others, and any combination of these, produced collaboratively or individually. Types of submissions include (but are not limited to) short essays, criticism, interviews, case studies, reviews, reports, creative works (or extracts), and other imaginative responses. The editorial committee encourages the submission of non-academic contributions (or that go beyond the academic style). Text length can vary between 500 and 1500 words (maximum), depending on the form and the media used.

Please send your submission (along with relevant images, videos, hyperlinks, etc.), a short biography (100 words) per person involved, an abstract (100 words), as well as 2 to 5 keywords, by Friday, 13 September 2013 to: revuedpi(at)

An honorarium is offered depending on the length and complexity of the contribution. The authors and artists are responsible for all copyright related to the submitted content.

Submissions that fall outside of the Themed Section are also welcomed and will be considered for publication in the Field Studies Section (“hors dossier”).

- See more at:


The Strange Rituals of TEDxSummerisle

I have no idea how many people were involved with perpetuating this fiction, either in planning or in performance, either with explicit knowledge of what was planned, or following along as it happened."

really begs the question of "pix or it dint happen"-but what if too many pix or pix posted at the wrong time? twitter is pretty fickle for viewership, it doesn't matter if you have X number of followers but depends which of them are looking at the stream when you're tweeting or who RTs your tweet atm.

I also wonder if the first website ever were restored to it's original URL and no one blogged about it, would anyone know?

This is a fantastic project by the way :)