Media Exhibition

FRIDAY, 7:00 – 9:30 PM
OCTOBER 16 2015


Building upon the colloquium’s theme of disrupting disciplinary boundaries and distinctions between scholarly theory and artistic practice, HUMOROUS > DISRUPTIONS has curated a public exhibition of video and media works. This exhibition explores humour as a disruptive technology within feminist media practices, by bringing together a diverse collection of videos, animated images, and online games, registering affective and humorous engagements with race, gender, cybernetics, and the body.

The media exhibition is open to all colloquium attendees, as well as the public. During the event, wine and light refreshments will be served.

Featured media include:

“Cunt Touch This” (2014)
Copenhagen Game Collective
(Ida Marie Toft, Andrea Hesselager, Sabine Harrer and Raimund Schumacher)

> Cunt Touch This is inspired by Tee A. Corinne’s Cunt Colouring Book from 1975. The game is a meditative drawing activity accompanied by sounds. Using fingers on a touchpad players can admire, care for and add their own artistic colouring to the detailed shapes of Corinne’s drawings. Pacing of strokes is important for the aesthetic look: slow strokes create thick colour lines while fast strokes add a coarse graffiti style. Randomly placed sensitive areas respond to the touch: careful work around these gives more time to draw, while too much interaction will cause the image to pulsate in a slow motion cunt explosion before the image fades to white leaving the message “thank you, it was a pleasure”. The option “Cuntinue?” invites the players to encounter new levels. Sensitivity area and pleasure length on each vulva are unique just like each drawing shows the diversity of female bodies. The game won an Award as the Least/Most Feminist Game at Exile Game Jam 2014, Denmark.

“Survivor Music (beta version)”
Erin Gee and Kai Cheng Thom

> A collaboration between Erin Gee and Kai Cheng Thom, Survivor Music is a sonic/poetic space online where survivors of sexual violence are invited to laugh. Users are invited to record their laughter and tag it, much like existing blogs and tweets, so that it can be entered into a database.  Visitors to the site can also visit the “Echo Chamber” where recorded laughter is assembled through these tags.  The open-ended structure will allow for multiple interpretations, styles of laughter, and non-verbal experiences and voices to unite in solidarity, forming an open, anonymous space where communities of survivors can digitally assemble their voices to mark their shared presence through laughter.

A major barrier to coming out as a survivor of sexual assault, rape or other forms of violence to friends and family is the aversion to being marked as a damaged person.  Survivors are more than their experience with trauma, and often want to share their experiences as well as be seen as whole people. Another barrier to coming out is the anxiety that surrounds the possibility that a survivor may be asked to re-tell their narrative, to share the experience with others and to discuss it. For these reasons, we have created a space for healing that is anonymous, positive, and also takes space online as a reminder that sexual violence touches people from all walks of life and communities.

“Tampon Run” (2014)
Sophie Houser and Andrea Gonzales

> Tampon Run is a video game to combat the menstrual taboo. The game features a female runner who throws tampons at oncoming enemies. It went viral in September of 2014, helping girls and women become comfortable about their periods, and generated widespread discussion about menstruation which helped make it less taboo. The game also stands for the importance of having more women in tech and served to inspire girls and women to learn to code. This is especially important given the huge gender disparity in tech.

“What Women Want” (2008)

> Barbara. Elisabeth. Joy. Sherri. Whoopi.

“Bed of Roses” (2012)

> The end of the Bon Jovi proposal fantasy (with bananas).

“Perfect Woman” (2013)
Peter Lu and Lea Schönfelder

> Perfect Woman is game inspired by the ubiquitous personality questionnaires featured in women’s magazines and the female roles they define. There are so many such roles emphasizing aspects of family, career, experience, sex and more. But these can not possibly characterize the depth and complexity of a woman’s life. Perfect Woman uses these stereotypes as building blocks for you to be your OWN perfect woman.

The game is structured into progressive levels, each one representing a different stage in a woman’s life. Starting at the child stage, players must post in front of a Kinect to mimic various poses that appear on screen. The better a player is able to hold the pose, the more “perfect” their rating for that level. Perfect Woman features a branching decision tree which serves to create a narrative of the character’s life. Past choices may make future choices more difficult. It’s not always possible to be perfect at every stage in life, and that’s perfectly fine.

“White Dreams Disturbed (excerpt)” (2015)
Dayna McLeod

> In my video and performance work, I often use remix practices to rearrange, deconstruct, and critique mainstream media. White Dreams Disturbed continues this methodology and furthers my interest in female subjectivity and spectatorship.

I have used the television show Medium (2005-2011) as a dataset. I have logged and sampled each time the lead character is in bed, goes to sleep, and wakes up. She often wakes with a start, scream, or outburst of some kind because of her nightmares and psychic visions: Alison Dubois (played by Patricia Arquette) “sees dead people” in her dreams that help her fight crimes. When I first started this project, I was interested in these near-sleep gestures as metaphors for perceived female hysteria and sexuality. However, Patricia Arquette has since complicated my project with her outspoken views on gender equality at the 2015 Academy Awards, and through her embodiment of white feminism and white privilege. I have titled this piece White Dreams Disturbed to address this as I reflect on my own subjectivity in relationship to this dataset and its edit, and how mediatization figure and reconfigure the female body while examining the repercussions of this configuration.

“Ute” (2011)
Lea Schönfelder

> Ute walks around and meets 11 men she can sleep with. The more sex she has, the more points she gets. But all men are in love with her and she has to take care not to be seen by anybody while having sex with another man. If Ute gets caught, two men – the one she was in bed with, and the one who caught her – get mad at her and never sleep with her again. At the end one man remains and that’s the one Ute is going to marry. The objective of the game is to have sex as much as you can before getting married.


> TimeTraveller™ is a multi-platform project that features a website, at; a nine-episode machinima series; and a prototype action figure. Together they tell the story of Hunter, an angry young Mohawk man living in the 22nd century. Despite his impressive range of traditional skills as a warrior and iron worker, Hunter is unable to find his way in an overcrowded, hyperconsumerist, technologized world. In an act of desperate clarity, he’s decided to use his edutainment system–his TimeTraveller™–to help him figure it out. “Go ahead,” he says, “Call it a vision quest.”

Thus he embarks on a journey from survival to success, mirroring First Nations’ journey since colonization. Along the way, he meets Karahkwenhawi, a young Mohawk woman from our time. Through a mysterious glitch in the system, she obtains a pair of TimeTraveller™ glasses. Shot in Second Life on AbTeC island, each episode features an historical event of significance to Native North Americans and an Indigenous commentary on it.

It is extremely important that Aboriginal people appear in the collective imaginary we call “The Future”. Images of Indians, silent and unnamed, can readily be found in history books. But our absence from pictures of tomorrow suggests that we do not have a role to play in a technologically advanced society such as our own. TimeTraveller™ addresses that lack.

In the massively multi-player on-line world Second Life, fantastic people populate improbable architecture as they fly, teleport, and “telepathically” communicate their thoughts and dreams. With its mythological beginnings as the realization of Neal Stephenson’s Metaverse, Second Life greatly resembles our own future. Where do Indigenous people fit into such a space? Such a future? And, more importantly, what is our role in defining that space and future? TimeTraveller™ contributes to this discourse.

“History,” goes the old saying, “is told by the victors”. Embracing historical revisionism from a First Nations perspective to depict Indigenous people as having survived the colonial experiment and then thriving, TimeTraveller™ positions Indigenous people as victorious.

“Cyborg Goddess”
Kara Stone

> Cyborg Goddess is inspired by Jasbir Puar’s essay on assemblage and the work of Donna Haraway. Cyborg Goddess is a cost-benefit analysis game of the common sci-fi and fantasy archetypes available for women.

“Love Songs: Real Love & Foot Love” (2015)
Sucrose Sucrose Brown
(Vanessa Tolkin Meyer and Rachel Idelson)

> Everyone is always singing about love! But why don’t the songs on the radio sound like our romantic lives? As two ladies who take love very seriously (so seriously that we must joke about it), Sucrose Sucrose Brown is not only committed to exposing another side (the underside?) of the love ballad but also to expanding it into unseen territories – like the feet, and the importance of caring for them properly.