Terms: cyberfeminism, intimate interfaces, mother-machine, dispersed collectivity, affective labour, practices of ourselves, digital proletariat, joy acceleration, extensions, pharmachoreography, political dancefloor, protocols of self-organisation, speculative synthesis, terror of relationship, rhythm, repetition, care virus
1,2,3,4: The Rhythm Method is informed by the multiple speeds within our works, and the rhythms of our bodies and lives.
Four members of 0s+1s Collective shared a group conversation — alongside text, video and performance. The collective introduced the selected works via Skype within the context of recent group discussions on how emotional labour and personal feelings form an essential part of our collective practice.
Rut Karin Zettergren’s web-girl alter-ego Soft Light — clued up in technology, surveillance and dance hall — streamed a live performance lecture on the subject of artificial intelligence.  Choterina Freer presented her multiform essay film “Impatient Voices” — in which she considers the commercialisation of both the collective impulse (as seen in social media) and of biomedical technology (health tracker apps) through using their forms and imagery with archival documentation of women’s health collectives from the 70s.
Anna Kinbom streamed two of her songs (Love and Smaragden’s Song to Mick) in her inclusive karaoke style. Sonia Hedstrand’s text The Performative Worker was partially translated (from Swedish to Russian) by Maria Kotlyachkova. The text is based on the artist’s personal and political experiences of performative service labour from Parisian Au Pairs to Tokyo Host Boys.
