Exploring the Intersection of Women, Art, and Computing: Review of ‘Radical Software: 1960–1991

The Symbiotic Dance: Art, Technology, and Shifting Narratives

since 1991, the pervasive influence of computation has reshaped virtually every facet of society, nowhere more profoundly than within the realm of art. The integration is so complete that the lines between analogue and digital creation have become increasingly blurred. From AI-driven audio and imagery in mainstream music and film to the incorporation of 3D printing in conventional crafts, technology is now integral to creative processes—research, communication, and production. This integration prompts a critical pause: to remember that deep integration of technology in art is still a relatively recent development and that the established narratives of this era may benefit from broader, more inclusive perspectives.

Challenging Modernist Perfection

Isa Genzken’s Grau-grünes offenes Ellipsoid (1977),a wooden sculpture that stretches and distorts a hollow three-quarter sphere,offers a compelling commentary on this transition. Similar to how Hans Holbein’s skull in the Ambassadors disrupted perspectives 444 years earlier,genzken’s work addresses the relationship between analogue craftsmanship and the digital future.Where Holbein’s painting mediated between religion and the Scientific Revolution, Genzken’s sculpture suggests a symbiotic, rather than destructive, relationship between traditional methods and digital innovation.The placement of a 5.47m-long computer drawing—a digital flattening of the sphere—near the sculpture further questions modernist ideals of perfection and order.

This interplay is explored in Zeros and Ones, the inaugural chapter of a larger exhibition. This section fosters curatorial overlap,allowing dialog between different periods,themes,and media. The exhibition intentionally disrupts linear narratives and transcends a patriarchal artistic canon. While grounded in academic research, the exhibit prioritizes the aesthetic and experiential impact of diverse works, tracing the progression of technology from binary code to text, image, and video, aligning with Moore’s Law. An accompanying publication expands on these themes through essays and interviews, providing deeper context.

valie Export Selbst, Portrait mit Stiege und Hochhaus, 1989 (Image credit: Courtesy of artist)

Early Experimentation and Playful Intent

The early experiments of Vera Molnár, a pioneer of generative computational art, carry a distinct romanticism. Her 1974 drawing, Hypertransformation, presented on ripped plotter paper and titled “JOB FROM MOLNAR”, exemplifies this. Similarly, Lily Greenham’s graphics, created on a home computer in 1982 using keystroke characters, bridge the gap between typewriter-made concrete poetry and digital collage. These works share a common thread of playful and curious intent.

Deconstructing Language and Meaning

Agnes Denes, celebrated for her ecological and land art, transitioned to technology after finding painting’s “vocabulary limiting.” In Hamlet fragmented – Wittgenstein’s ‘Pain’ (1970-71), Denes inputted Shakespeare’s play into a computer, reducing and reforming it. She then replaced every instance of “Pain” with “Pleasure” in Wittgenstein’s text, demonstrating the profound impact of digital manipulation on language and meaning.

weaving as a Metaphor for Computation

Weaving emerges as a recurring motif,challenging traditional patriarchal views of “feminine labor.” Sewing, weaving, stitching, and crafts are recontextualized as creative exploration. This connects conceptually to the origins of computing: Joseph Jacquard’s 1801 mechanical loom, which used punch cards to store pattern data, was a precursor to Charles Babbage’s Analytical Engine (1837). Ada Lovelace’s 1840s Note G further expanded on this concept, cautioning against simplistic views of artificial intelligence.

Sonia Sheriadan, Sonia in Time, 1985 (Image credit: Courtesy of artist)

rosemarie Trockel’s wool paintings, created on a computerized knotting machine in the late 1970s and early 1980s, and Charlotte Johannesson’s digital designs, produced on a computer, exemplify this fusion. Beryl Korot’s multimedia Text and Commentary—combining videos,woven textiles,and pictographic notations—pushed the boundaries of historic craft and digital potential. Though, as computing became more deeply embedded in capitalism, home life, and business in the following decade, technology became increasingly gendered, frequently enough presented as a male domain [Cite relevant source on gendered marketing of technology].

Charlotte Johannesson, Untitled, 1981-85 (Image credit: Courtesy of artist)

Radical Expressions and Transgressive Aesthetics

Despite the gendered marketing of technology, women artists actively employed it in diverse ways. A collection of 11 video works from the 1980s showcases radical, transgressive, and playful explorations. These works capture the noise of the 1980s: pop music videos, digitized 16mm film, video game spaces, protest politics, queer provocation, and glitch aesthetics.

Samia Halaby’s kinetic, pixelated paintings challenge romantic technoutopianism.Gudrun Bielz and Ruth Schnell’s digital transmogrification of found footage creates an awkward aesthetic. barbara Hammer’s No No Nooky T.V. explores women’s sexuality and feminism in the digital age with a directness that remains powerful today.

The exhibition serves as a powerful reminder of the complex interplay between art and technology, and the importance of diverse perspectives in shaping the narratives of this ongoing evolution.By highlighting the contributions of women artists and challenging established canons, it offers a richer and more nuanced understanding of the digital age.

Radical Software: Reimagining Technology Through Art and Empathy

An intriguing exhibition, “Radical Software,” delves into the intersection of technology, art, and social consciousness, challenging the dominant narratives of Silicon valley and envisioning alternative futures rooted in empathy, care, and community. Running until May 25, 2025, at Kunsthalle Wien, the exhibition showcases over 100 works exploring the rich roots of computational art and its potential to reshape our world.

The exhibition’s themes offer a critical perspective on how technology is developed and used, particularly its impact on marginalized communities and the role of women in tech. It seeks to counteract the pervasive male-dominated narrative frequently enough associated with technological innovation.

A Genderfucked Sci-Fi Future

One of the central themes, inspired by Donna Haraway’s “Cyborg manifesto,” explores a “genderfucked sci-fi future not written by men.” This section centers women’s perspectives and contributions to technology. Anna Bella Geiger’s 1969 “Self-Portrait,” rendered in ASCII symbols,is featured,showcasing early digital self-portrayal.Valie Export’s 1989 images, which digitally manipulate her own face and body, further exemplify this theme.

Lynn Hersman Leeson’s prescient drawing, “X-Ray Woman,” created in 1966, provides a non-digital yet visionary perspective. The drawing depicts a female body with biological systems intertwined with clockwork electronics, a commentary on the gender structures embedded within digital technology.In this artwork, “a cogwheel is made of vitruvian man, an about-turn of gender structures.”

Barbara Hammer, No No Nooky Tv, 1987 (Image credit: Courtesy of artist)

Challenging Silicon Valley’s Dominance

The exhibition subtly critiques the origin stories of tech giants like Meta, referencing Mark Zuckerberg’s early project Facemash, which rated women’s looks on the Harvard campus. It juxtaposes this with the broader societal impact of tech leaders, highlighting Elon Musk’s pronatalist agenda and the patriarchal structures prevalent in Silicon Valley, where traditionally “men are the geniuses, thought-leaders, instigators, and leaders.”

Valie export, Stand Up Sit Down, 1989 (Image credit: Courtesy of artist)

Reclaiming Technological Histories

“Radical Software” aims to reclaim the contributions of female, Black, brown, and queer individuals who have shaped technological histories, emphasizing that their stories “will not stop.” The exhibition invites us to envision alternative models for our technological futures, urging a shift towards technologies “rooted more in empathy, care, curiosity, and exploration than the than hypercapitalism and authoritarianism of today.”

In today’s world, the influence of tech giants on elections, mental health, and culture is undeniable. The exhibition serves as a timely reminder of the need to pause and reflect on the impacts of technology, advocating for more equitable and compassionate approaches.

Gudrun Bielz und Ruth Schnell, Pluschlove (Image credit: Courtesy of artist)

Practical Applications and Future Perspectives

The ideas presented in “Radical Software” can be applied in several practical ways:

• Promoting Diversity in Tech: Actively seek out and support women, people of color, and LGBTQ+ individuals in STEM fields to create more inclusive and equitable technological advancements.
• Ethical Tech Development: Prioritize ethical considerations in the design and deployment of technology, focusing on user privacy, data security, and social impact.
• Community-Driven Innovation: Foster collaborative environments where diverse voices can contribute to technological innovation, ensuring that solutions meet the needs of a wider range of users.
• Critical Media Consumption: Encourage critical analysis of media and technology narratives to challenge biases and promote a more balanced understanding of the tech landscape.

By embracing these principles, we can move towards a future where technology serves humanity with empathy and inclusivity.

Conclusion

“Radical Software” offers a powerful exploration of technology’s past, present, and potential future. By highlighting the contributions of marginalized voices and advocating for ethical development, the exhibition encourages us to reimagine technology as a tool for social good, fostering a world where “we are all becoming cyborgs” but in an image defined by care, community, and equitable representation.

How can individuals and organizations support diversity and inclusivity within the field of technology?

Reimagining Technology: A Conversation with Curator Dr. Anya Sharma on “Radical software”

Dr. Anya Sharma is the led curator of “Radical Software,” a groundbreaking exhibition at Kunsthalle Wien challenging conventional narratives of technology and advocating for empathetic, inclusive futures.We sat down with Dr. Sharma to discuss the exhibition’s key themes and its relevance in today’s rapidly evolving technological landscape.

archyde: Dr. Sharma,thank you for joining us. “Radical Software” presents a compelling critique of Silicon Valley’s dominance. What inspired this exhibition, and what core message do you hope visitors take away?

Dr. Sharma: Thank you for having me. The inspiration stemmed from a growing concern that the dominant narratives around technology were excluding crucial voices and perspectives. We wanted to create a space where we could explore the rich, often overlooked, history of computational art and its potential for social good. The core message is that technology is not neutral; it’s shaped by the values and intentions of its creators. We need to actively reimagine technology rooted in empathy, care, and community, rather than hypercapitalism and authoritarianism.

Archyde: The exhibition highlights the contributions of women, people of color, and LGBTQ+ individuals to technology. Could you elaborate on why reclaiming these technological histories is so important?

Dr. Sharma: It’s absolutely vital as for too long, the history of technology has been told through a very narrow lens. By reclaiming these histories, we not onyl acknowledge the significant contributions of marginalized groups but also challenge the myth that technological innovation is solely the domain of a specific demographic. It showcases diverse perspectives that have existed and continue to exist while perhaps influencing choice models for technology.

Archyde: Donna Haraway’s “Cyborg Manifesto” seems to be a central inspiration. How does the exhibition explore the concept of a “genderfucked sci-fi future”?

Dr. Sharma: Haraway’s manifesto offers a powerful framework for questioning traditional boundaries and embracing hybridity. In the exhibition,we interpret the “genderfucked sci-fi future” as a vision where gender structures are deconstructed and reformed – challenged – . we incorporate works like Anna Bella Geiger’s digital self-portraits and Valie Export’s digitally manipulated images, we showcase artists like Lynn Hersman Leeson who critically engage with the embedded gender structures within digital technology, envisioning futures designed from a feminist perspective.This section amplifies women’s perspectives, showcasing what occurs when their contributions are placed at the fore.

Archyde: Several pieces deconstruct language and meaning. How does the exhibition explore the relationship between technology and language?

Dr. Sharma: From Agnes Denes’ “Hamlet Fragmented – Wittgenstein’s ‘Pain’”, technology can be more than just a tool; the act of transforming words can highlight digital manipulation’s ability to affect language and meaning. “Radical Software” explores how artists use technology to deconstruct and reimagine language,drawing upon artists like lily Greenham and Vera Molnar’s works,which highlights a playful and curious intent and the blending of the physical with the digital,and recontextualizing it in digital formats.”

Archyde: We see weaving emerging as a metaphor for computation in the exhibition How do weaving traditions connect to the origins of computing featured in “radical Software?”

Dr.Sharma: “That’s correct. Jacquard’s loom, a punch card system and the precursor to Babbage’s Analytical engine created an entry in creating digital pattern data. The weaving motif highlights weaving’s place as a precursor to digital technologies. Weaving also connects to radical expression displayed by women artists like rosemarie Trockel and Charolette Johannesson”

Archyde: The exhibition encourages envisioning alternative technological futures.What practical steps can individuals and organizations take to foster a more equitable and compassionate approach to technology development and use?

Dr. Sharma: There are several actionable steps. Firstly, actively promote diversity in tech by creating inclusive environments and supporting women, people of color, and LGBTQ+ individuals in STEM. Secondly, prioritize ethical considerations in the design and deployment of technology, Focusing on user privacy, data security, bias mitigation, and social impact. Thirdly, foster community driven innovation with the goal of including the voices of those who are regularly excluded. Lastly,consumers can seek out critical analysis and media when receiving tech advertisements,reports etc to have a balanced and accurate perception of the industry.”

Archyde: Dr. sharma, what is one thought-provoking question you hope visitors will ponder after experiencing “Radical Software”?

Dr. Sharma: I hope visitors will ask themselves: “Whose future are we building with technology, and how can we ensure it’s a future that benefits everyone, not just a select few?” we encourage our readers to visit the Kunsthalle Wien before May 25, 2025 and share any ideas in the comments below regarding where we should focus our efforts to create this future.