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Poetry is Cosmic War Interview
An Amy Ireland interview that makes xenofeminist poetics, cosmic war, and synthetic political imagination legible in a more public voice.
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
These pages matter because they show xenofeminism as a wager on using technical alienation rather than rejecting it. The future is treated as something to be engineered through abstraction, reason, and synthetic collectivity, even when that wager is contested.
Manifesto, critique, and interview form each make a different part of the argument visible. Policy language, political objection, and poetic militancy all become ways of testing what alien emancipation could mean.
That matters because the later feminist afterlife of the archive is not reducible to influence. It is a live argument over how much of technical modernity can be repurposed and at what cost.
How to read this text
Read the page's stance on alienation first. Whether alienation is being embraced, revised, or criticized determines almost everything else.
Watch how abstraction is translated into politics or poetics. That is where the page's synthetic ambition becomes most concrete.
Representative extracts
Definition · paragraph 3
Its enemy is the lyric, and its driving problematic could be aphorised as follows: 'Is there a Poem the human cannot afford to make?' There are explicit ontological and methodological connections between xenopoetics and the feminist practice of Laboria Cuboniks-an international transfeminist collective that I have been working with since 2014. Both see human experience as an open system in a meta- system of cosmic becoming; both affirm anti-identity politics
Definition · paragraph 1
For good parents an advisable rating here is PG13+. 'Experimental writing hacks the control code.' 'Poetic production is cosmic war.' 'There is nowhere to go but further into the abyss.' Vhatever readers might think, Ireland is part of a new generation of badass Australian writers who have nothing to lose and everything to destroy.
Definition · paragraph 1
Among other things, in this interview readers s,ill gain insight into the sometimes secretive moves and motives of the Xenofeminist collective Laboria Cubonihs (of which she is a part), a feminist insurrectionary force dedicated to overthrowing capitalo-patriarchy (or at least hacking/accelerating it to its own destruction). 'We'talk Twitter, an 'excellent' space that she says is defined by horror, and she speals about an ongoing project involving 3D-poetry,: Bouequet.
Mechanism · paragraph 4
Irigaray's criticism of woman's enabling- yet-excluded position with regard to the regulated circuitry of 'human' (read'male') exchange potentiates a conception of this circuit's outside as a space of alien communication and feminist insurrection, while Sadie Plant, using the metaphor of binary code in compuration, gives the following description of unrepresentable woman (= 0):'lZerol neither counts nor
Stakes · paragraph 4
(Laboria writes of 'the right to speak as no one in particular' h Xenofeminism: A Politics for Alienation and uses this as a basis from which to advocate for gender fluidity and reject biological determinism); both employ a rechnologically- informed methodology of hacking, and both are attentive to the complex feedback loops that abide between conceptuality and matter.
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.