Text page
Black Circuit Code for the Numbers to Co
A cyberfeminist code-poem that turns programming language, number, and black circuitry into a poetics of synthetic subjectivity.
Archive condition
The page uses the canonical extracted text as its reading layer while preserving the original file paths as the archival source of record.
Core idea
The page matters because it approaches cyberfeminism through code, notation, and symbolic procedure rather than through essayistic explanation alone. Computation becomes a gendered and historical scene of invention.
Formal compression is the method. Names, numbers, and circuit language are made to do conceptual work directly, so that writing itself behaves like a small machine for technical subjectivity.
That matters because the cyberfeminist line is strongest when it can make code feel cultural and historical without reducing it to metaphor. These pages preserve that mix of poetics and systems thinking.
How to read this text
Read for the relation between naming and procedure before trying to paraphrase a conventional argument. The page is working through compression.
Track how number and writing are made to carry embodiment, history, or technical inheritance. That is where the conceptual charge sits.
Representative extracts
Definition · paragraph 6
Plant offers a compelling rejoinder: “Man is the one who relates his desire; his sex is the very narrative [of Western civilization]. Hers has been the stuff of stories instead.”24 đđđđđđđđđđGabe Ibanez’s Automata and Alex Garland’s Ex Machina dramatize the menace of the black circuit with particular acuity.25 In both films, the action is lead by an artificial intelligence that appears – or better, is represented by the men in the film – as female.
Definition · paragraph 11
2 (1998): 150. đđđđđđ3 Jack Parsons, Liber IL →. đđđđđđ4 Ibid. đđđđđđ5 Ibid. đđđđđđ6 Ibid. đđđđđđ7 “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. đđđđđđ8 Anna Greenspan, Suzanne Livingston, and Luciana Parisi, “Amphibious Maidens,” Ccru, Abstract Culture, vol. 3, no. 1 (1998). đđđđđđ9 Sadie Plant, “On the Matrix: Cyberfeminist Simulations,” The Cybercultures Reader, eds.
Mechanism · paragraph 1
For I am BABALON, and she my daughter, unique, and there shall be no other women like her.4 Blinded by an all-too-human investment in logics of identity and reproduction, Parsons makes the critical mistake of anticipating a manifestation in human form, understanding the prophecy to mean that, by means of sexual ritual, he will e-flux journal #80 — march 2017 đ Amy Ireland Black Circuit: Code for the Numbers to Come 01/11 03.03.17 / 14:28:57 EST
Mechanism · paragraph 1
Amy Ireland Black Circuit: Code for the Numbers to Come Demons We are the virus of a new world disorder. – VNS Matrix1 January 1946, Mojave Desert.
Mechanism · paragraph 1
Amy Ireland Black Circuit: Code for the Numbers to Come Demons We are the virus of a new world disorder. – VNS Matrix1 January 1946, Mojave Desert. Jack Parsons, a rocket scientist and Thelemite, performs a series of rituals with the intention of conjuring a vessel to carry and direct the force of Babalon, overseer of the Abyss, Sacred Whore, Scarlet Woman, Mother of Abominations.
Appears in sections
Cyberfeminism, Xenofeminism, and Technical Subjects Primary section
Sadie Plant, Amy Ireland, and the technical, gendered, and synthetic subject positions running through the archive.