Text page
Plant- Technically Speaking (Interview with Zoey Kroll 1999)
"Plant- Technically Speaking (Interview with Zoey Kroll 1999)" makes cyberfeminist and posthuman arguments legible through interview form, where scene position, public voice, and technical theory have to meet.
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 cyberfeminism here is not an add-on to the archive's better-known themes. It is one of the places where circuitry, writing, labor, and gender are made to reorganize what counts as a subject or a system.
These texts work by making cultural criticism, theory, and technical description contaminate each other. The result is a model of subjectivity produced through networks, codes, and infrastructural mediation rather than grounded in stable identity.
That matters because the archive's human/machine problem changes once it is read through Plant, Parisi, and later xenofeminist debate. The future stops looking like a neutral technical horizon and becomes a struggle over who or what gets composed by it.
How to read this text
Read for where writing, labor, media, or embodiment are described as technical arrangements rather than background topics. That is where the page usually sharpens.
Keep an eye on how the page positions itself against humanist or moralizing accounts of technology. The section's strongest interventions are usually anti-essentialist and infrastructural at once.
Representative extracts
History · paragraph 1
Technically Speaking: An interview with Sadie Plant by Zoey Kroll June 1999 A citywide transportation strike in Paris and the pouring rain could not deter me from my rendezvous with British feminist author Sadie Plant.
History · paragraph 1
Technically Speaking: An interview with Sadie Plant by Zoey Kroll June 1999 A citywide transportation strike in Paris and the pouring rain could not deter me from my rendezvous with British feminist author Sadie Plant. I had been hybernating for the previous three months in Marseille trying to learn a new languagenot French, but the foreboding cold grammar of the computer.
History · paragraph 1
I had been hybernating for the previous three months in Marseille trying to learn a new languagenot French, but the foreboding cold grammar of the computer. Whenever I got frustrated, I turned my back on the screen and indulged in the poetry of Sadie Plant's alternative history of technology Zeros + Ones: Digital Women and the New Technoculture.
History · paragraph 1
These interwoven stories throughout Sadie Plant's text shifted my siliconvalley implanted history, and threatened the coherence of a testosteronefueled mythology which had shared my own coming of age. Thus, eating rainsogged croque monsieurs in a sidewalk cafe with one of the darlings of cyberfeminism did not feel any stranger than the curious machinations of her revised technological history, one hau
History · paragraph 1
Whenever I got frustrated, I turned my back on the screen and indulged in the poetry of Sadie Plant's alternative history of technology Zeros + Ones: Digital Women and the New Technoculture. Marseille, the oldest city in France, might be considered an unlikely place for me to study C++, especially considering I come from the hightech hub of San Francisco, where acronyms like HTML, AI, and Y2K are inescapable fixtures of every happy hour conversation.
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.