Queer Virtual

Feminist Resources

Tue, 07 May 2013 11:17:59 -0400

Audre Lorde’s The Master’s Tools Will Never Dismantle the Master’s House

Audre Lorde’s Uses of the Erotic: The Erotic as Power

Aurora Levins Morales’s Radical Pleasure: Sex and the End of Victimhood

bell hooks’ Cultural Criticism & Transformation

Chandra Talpade Mohanty’s Under Western Eyes: Feminist Scholarship and Colonial Discourses

Combahee River Collective Statement

Dorothy Allison’s A Question of Class

Judith Butler documentary

Leslie Feinberg’s We Are All Works in Progress

Paula Gunn Allen’s Who is Your Mother?: Red Roots of White Feminism

R.W. Connell’s The Social Organization of Masculinity

Sandra Lee Bartky’s Foucault, Femininity, and the Modernization of Patriarchal Power

Sandra Cisneros’s Guadalupe the Sex Goddess

Sojourner Truth’s Ain’t I a Woman?

Susan Bordo’s The Body and the Reproduction of Femininity

“Mediated coven” “virtual seance” THESE...

Mon, 22 Apr 2013 13:49:36 -0400

“Mediated coven” “virtual seance” THESE BABBIES AND ME
If you live even remotely close to downtown manhattan you literally HAVE to come to this
COME

theaesthlete: the internet is so important for me because white ppl act like racism isn’t real and...

Mon, 22 Apr 2013 13:44:50 -0400

theaesthlete:

the internet is so important for me because white ppl act like racism isn’t real and my experiences are illegitimate and i’m already an obssessive person w/ proclivity toward rumination so i can’t handle white ppl acting like racism doesn’t exist

like thank you livejournal + tumblr

Feminist Resources

Wed, 17 Apr 2013 10:23:21 -0400

Feminist Resources:

julianahuxtable:

farahjoon:

Audre Lorde’s The Master’s Tools Will Never Dismantle the Master’s House

Audre Lorde’s Uses of the Erotic: The Erotic as Power

Aurora Levins Morales’s Radical Pleasure: Sex and the End of Victimhood

bell hooks’ Cultural Criticism & Transformation

Chandra Talpade Mohanty’s Under Western Eyes: Feminist Scholarship and Colonial Discourses

Combahee River Collective Statement

Dorothy Allison’s A Question of Class

Judith Butler documentary

Leslie Feinberg’s We Are All Works in Progress

Paula Gunn Allen’s Who is Your Mother?: Red Roots of White Feminism

R.W. Connell’s The Social Organization of Masculinity

Sandra Lee Bartky’s Foucault, Femininity, and the Modernization of Patriarchal Power

Sandra Cisneros’s Guadalupe the Sex Goddess

Sojourner Truth’s Ain’t I a Woman?

Susan Bordo’s The Body and the Reproduction of Femininity

jrvmajesty: Whatever is next, it all comes back to the idea of...

Mon, 08 Apr 2013 16:16:08 -0400

jrvmajesty:

Whatever is next, it all comes back to the idea of a conversation, between innovators and newcomers, between queer audiences and straight ones. “‘Alternative gays’ are a tiny part of the population, so if that’s going to be your whole market, good luck. Why don’t you start the conversation with the heterosexual masses?” he suggests. “I’ve never been into gay separatism or anything like that. What I define as my queer scene is a combination of transgendered folks in both directions, guys, girls, straight people, whatever: it’s more about that dialogue, that’s what gets us off.” -

“GET TO KNOW IT, AND YOU WON’T WANT TO RIP IT OFF.” FADE TO MIND’S RIZZLA ON HUMANIZING THE EXOTIC

wanting it both ways: In broad strokes, we may note that key elements of the good academic...

Mon, 04 Mar 2013 10:41:55 -0500

wanting it both ways: In broad strokes, we may note that key elements of the good academic...:

In broad strokes, we may note that key elements of the good academic life for (aspiring) politically-engaged/minority discourse practitioners includes the belief that knowledge work is related to and can transform the world at large. So clearly and so long has education participated in social…

J.A.I.L (Juggalos Against Illuminati Leadership)

Sun, 03 Mar 2013 14:03:58 -0500

"In the psychic moving stream of Tumblr, teen girls build and perform their individual aesthetics,..."

Sun, 03 Mar 2013 14:03:07 -0500

“In the psychic moving stream of Tumblr, teen girls build and perform their individual aesthetics, which are not anonymous, even if individual images are not interacted with in the same reverent (or highly art-critical) way with which one might encounter a Monet in a museum. The teen-girl Tumblr aesthetic is less about an individual image that might be dissected and praised or excellence in a specific medium, and more about “articulating a point of view.””

- The Teen-Girl Tumblr Aesthetic by Alicia Eler and Kate Durbin (March 1, 2013)

TRIGGER WARNING article discussions of death, violence against women, online harrasment, aaaand quotes lena dunham for no particular reason.

I found this article equal parts baffling, super important and way too intense. It took me three tries to make it to the end, and I can’t get past the fact that they used the death of a young woman as the declencheur for this conversation.

I also wonder how distorted my own visions of these topics are since I’ve only been using Tumblr since the age of 22. Not to mention how sick I am of people lauding/touting Molly Soda as representative of this so-called “Teen-Girl Tumblr Aesthetic.” “Tumblr-famous tEEN GuRL?” She’s 23. Bitch was on livejournal just like the rest of us, never used Tumblr as a diary or a tumblelog in the traditional sense, but as a hyper-parodic art school experiment exploring notions of girlhood. The more people talk about her, the more people talk about her and convince themselves she is some sort of elected representative of every teen girl on tumblr ever? When in fact, she’s mostly mocking it? Snore.

Also, very curious about the absolute absence of discussions around race in this piece… the central figure, but all the the images and examples are very much centered around whiteness and white privilege. There have been countless important discussions challenging the way white young women in these online spaces react in knee-jerk ways to being challenged on these notions, and how many POC resist those dominant scripts by creating and sharing their own images, giving voice to “girls like them” in a way that hadn’t been nearly as accessible/widespread a few short years ago.

I’ve got lots of feelings.

(via garconniere)

I think this can be related to a lot of factors: the trend of nineties nostalgia and the millennial days of the internet, privilege in white femininity, and class issues.

Regarding the nineties trend, this too shall pass. I feel that many teens coming up are just reacting to the current trends of the 2000s looking towards past eras for inspiration, rather than creating their own shit. We see it with music, fashion, and the like. We have a large need to consume, and when are needs aren’t being met with our current times, we look towards the past for something “fresh.” A lot of youth (we’ll say after 1995) were not here for livejournal, and so tumblr is this new medium that they feel is freshness and unique.

As many Westerners, Americans especially shriek at discussions of race due to historical illiteracy. We have been encouraged to see any discussion of racism as “sowing the seeds” of racism. As in France, re: race “it does not exist if one doesn’t speak of it.” Additionally, racism is equated to extreme acts of violence or intimidation akin to Klan and Neo-Nazi actions, so no suburban white girl is even going to entertain the fact that she may have done something wrong, because she does not burn crosses on anyone’s lawn. Another facet is that for many Americans, we have been inculcated, through attacks on affirmative action/visibility of successful people of color, water-downed history classes, and code-speaking politicians, into post-racialism: because we have these people in power who are people of color, racism most be at an all-time low; in fact, it might be “wise” to conclude that white people can be discriminated against as everyone is on an equal-playing field. So when you confront white ladies, who do not understand that they’re femininity or gender performances are privileged, about racism, lack of women of color in their photoshoots or tokens in them, or cultural appropriation, they shriek because it is repulsive to be accused of racism where they live in a world that frequently reinforces their innocence of those things, and actually encourages them to take up victim-hood when people of color confront them.

If you live in a bubble where everything and everyone is sugarcoated to you, where you are able to live in innocence due to your parents’ stability, your race, and your heteronormativity, you will at some point get bored because your entire existence is normative. And you will shriek when others try to critique it because you fear that your “unique” space is trying to return you to normalcy.

(via plastickitten)

CFP: Queer Feminist Hip Hop Scholarship

Thu, 14 Feb 2013 14:48:41 -0500

“All Hail the Queenz: A Queer Feminist Recalibration of Hip Hop Scholarship”

A Special Issue of Women and Performance: A Journal of Feminist Theory.

Issue Guest Editors: Shanté Paradigm Smalls (University of New Mexico) and Jessica N. Pabón (New York University)

Submission deadline: May 1, 2013
Women and Performance invites submissions for a special issue, “All Hail the Queenz: A Queer Feminist Recalibration of Hip Hop Scholarship.” The editors welcome scholarly articles and performative texts that foreground feminist and queer performance studies approaches to hip hop culture, consumption, and production.
Contemporary rap music, as a stand-in for hip hop culture and production, is virtually synonymous with misogyny and homophobia in the mainstream US and academic imaginary. We want to explore the range of understandings and theories that inform how women and queers experience hip hop culture and performance; this issue underscores the multiplicity of hip hop culture and rejects a myopic totalizing view of what “the culture” does and is. We seek to engage with the wide range of hip hop scholars and practitioners working at the intersections of various methodologies not always associated with scholarly considerations of hip hop (including psychoanalysis, feminist and queer theory, and performance theory), as well as methods typical to hip hop studies—sociology, Black studies, literature, history, musicology, and urban studies. An emerging class of hip hop scholars pressure the givens of race, gender, performance, sexuality, region, nationality, artistry, and iconography—as a culture that has been in a state of constant development for the past forty years, hip hop scholarship is more than due for a queer feminist remixing and reimagining.
As coeditors, we challenge the readers of Women & Performance to ask: What would a specifically queer feminist performance studies approach to hip hop’s culture and production generate in terms of scholarship? How does a queer feminist experience and critique revise hip hop studies? Why has performance studies had so little to say about hip hop, what interventions does performance studies yield? The issue’s focus on producing knowledge about hip hop culture that centralizes women, girls and queer people will include a range of elements, both popular and subcultural: DJ culture, dance, graffiti, human beat boxing, rap music, as well as fashion, media and print, organizing, and other forms of knowledge production. No matter the genre, hip hop is often conceived and misrepresented as a male-dominated culture which casts women and girls as an addendum to hip hop rather than as primary producers, critics, and consumers. Within the pages of this issue, contributors revisit the centrality of feminist and queer artists to the production of all elements of hip hop culture and of feminist and queer critique to hip hop scholarship. “All Hail the Queenz” intends to tease out the nuanced negotiations women, girls, and queer people develop as hip hop artists, critics, and consumers participating within this climate.
Through re-centering feminist and queer critiques and female and queer performance, “All Hail the Queenz” recalibrates hip hop’s center. By recalibrating the center, contributors to this issue refashion hip hop historiography and hip hop aesthetics beyond the art of rapping by the cisgendered male body. In a kind of textual reperformance, this issue takes its title from Queen Latifah’s lyrical demands for respect on her first womanist rap classic album, “All Hail the Queen,” and reminds readers once again that “stereotypes, they got to go!”
Potential Topics:
· Alternate Hip Hop historiographies
· Artist Scholars
· DJing, technology, gender, sexuality
· Feminist, queer, trans* aesthetics
· Feminist, queer, trans* pedagogy
· Graffiti and gender/sexuality
· Hip Hop culture and dis/ability
· Hip Hop diasporas
· Hip Hop fashion
· Hip Hop feminism
· Hip Hop festivals
· Hip Hop’s hybridity
· Human Beatboxing
· Media culture and social networking
· Nation, Empire, and hip hop
· Queer feminist hip hop critique
· Queerness and/in/of hip hop
· Trans* in/and hip hop
Article submissions should be 6-8,000 words in length and adhere to the current Chicago Manual of Style (CMS), author-date format. Performative texts should be 2-3,000 words and in any style the author chooses (same CMS style as above if using citations). Photo essays are welcome. Questions and abstracts for review are welcome before the final deadline.
Complete essays and texts for consideration must be submitted by 11:59 PM EST, May 1, 2013.
Please send all work to both Shanté Paradigm Smalls and Jessica N. Pabón via email (MSWord attachment): shantesmalls@gmail.com and jnp250@nyu.edu.
Further submission guidelines may be found at: www.womenandperformance.org/submission.html. Women and Performance is a peer reviewed journal published by Routledge, Taylor & Francis.

Thanks for circulating!

Best,

Jessica N. Pabón

<p>Just thinking about how I personally introduced a globally famous queer theorist to the...

Sat, 09 Feb 2013 11:26:46 -0500

<p>Just thinking about how I personally introduced a globally famous queer theorist to the work of a game-changing performance artist and because of hierarchy/intellectual capital/my own naïveté, I will likely never be credited for that<br/> the only solution is to commit to doing my own work, relentlessly

"Although in dominant culture, cunt and pussy are deployed in a derogatory sense and may seem..."

Fri, 08 Feb 2013 17:05:03 -0500

“Although in dominant culture, cunt and pussy are deployed in a derogatory sense and may seem inherently misogynistic, I would offer a different, more complicated perspective. As pointed out above, both terms are criteria for gender performance in ballroom culture, as opposed to insults or demeaning expletives hurled at women and femme queens. For example, Brianna explained that she realized that she could be successful living and competing as a femme queen, and thus living as a woman in the outside world, when people were complimenting her drag performance (as a butch queen up in drags). Brianna said, “When I first got into drag, like a lot of people was telling me about it, saying you know, ‘you look fishy’ and ‘you look cunt.’” That people conferred onto Brianna these terms, even before she started taking hormones, meant that she embodied and performed the ultimate femininity necessary to both identify as a femme queen within the ballroom scene and to live as a woman (unmarked as a transgender woman) in the world outside of it. Or when Ariel Prestige boasted about being seen as pussy, she certainly did not view this as a demeaning interpellation within the context of ballroom culture.
Finally, at the Ebony Ball that I referred to above, when Jack Givenchy asked the biological woman whether she was “real cunt,” she did not appear offended at all. Instead, she responded with affirmation, “Yes, it is all real,” suggesting that the terms signify and serve as criteria for authentic femininity. Moreover, when these terms are used, the speaker does not typically say “you are a cunt.” Instead, the speaker says, “give me pussy” or “you look cunt,” meaning give me femininity in your performance and self-presentation. These terms are about the desire to achieve femininity, not to demean it. Granted, from outside the ballroom cultural context, these terms carry a meaning much different from what I argue is true within it, but it is important to take seriously the context in which terms are used and the varied meanings that they carry for people situated within that context.”

- Marlon M Bailey, Gender/Racial Realness: Theorizing the Gender System in Ballroom Culture (via julianahuxtable)

"The network-disgust that’s experienced by even the most positive-minded artists today is captured in..."

Thu, 31 Jan 2013 19:05:58 -0500

“The network-disgust that’s experienced by even the most positive-minded artists today is captured in our continued abuse of the meme “LOL,” which becomes ever more applicable in direct correlation to the degree that we overkill it and wear it out. Not even a word, the term itself performs the loss of language and of laughter, even. It’s a disembodied and thus efficiently transmissible abbreviation of laughter that in its repetition seems to reveal both the ecstasy and the anxiety of our nonstop displacement within social media. An overwritten, highbrow press release about networks may be LOL. Or a JPEG of a knowingly failed painting. But mostly LOL signals the amputation of laughter from the body and its recoding as the silent, poison-dart-like flight of a postword within a network. The more we abuse it, the more it functions as the postlaughter of wit minus bodies, always somehow aimed at the bad faith of postcommunal connectivity.”

- John Kelsey, “Next Level Spleen,”
Artforum Sept 2012 (via bravenewwhatever)

mirrortheories: uh vol. 2 Read More for hmm-ing

Thu, 31 Jan 2013 12:57:30 -0500

mirrortheories:

uh vol. 2

Read More

for hmm-ing

divorce: “Ultimate Wizard Quest the Movie for the Big Screen: So Many Battles”...

Sat, 26 Jan 2013 21:12:29 -0500

divorce: “Ultimate Wizard Quest the Movie for the Big Screen: So Many Battles”...:

divorce:

“Ultimate Wizard Quest the Movie for the Big Screen: So Many Battles” or “What I Really Think About Intergalactic Tournaments and their Role in Representing Fictional, Exaggerated Spiritual Worlds as present in Asian Media Marketed ~~Towards~~ Teenagers & That Effect ~~Towards~~ Global…

Virtual Mourning: A Eulogy For Someone We Never Knew

Thu, 24 Jan 2013 16:31:20 -0500

videodrag:

When Mark died— or when it really sunk in and I truly believed that Mark had died— the first thought I had was that it threw my theory about queer virtuality right out the window.

Mark was a caustic and alluring presence on Tumblr. Tumblr is a blog platform comprised of various communities, many of which I’ve seen intersect over issues of gender politics, queer advocacy and the politics of marginalized identity. What it means, what it feels like to be fat, to be weird, to be queer, to be trans*, to be other, to be Othered. There are the fierce feminists who post images of crochet patterns reading “My Body Is A Battleground.” There is the legion of gay male-identified performance artists who post screen caps of shirtless Christopher Meloni and ironic Grindr encounters. There are queer people of color posting about what it’s like to be racialized, to be queer, to be fierce, to be Beyoncé and Mariah and Naomi. And then there was calloutqueen.

When I first found Mark, she terrified me. Here was someone who was relentless— who lived relentlessly, who was constantly questioning and interrogating and never allowing anyone she encountered to relax into their identity, into their privilege. Without ever speaking to me directly, calloutqueen called me out so many times on what I took for granted about gender, about beauty, about existence, about my comfortability with my position as a white cis-woman. She held me accountable for her pain— for the pain that anyone who is fighting for difference and agency inevitably has to feel.

She defied category. She railed against definition. She refused to stop being difficult, confusing, unapologetic for her own existence as marginalized, as next-level.

Mark frequently posted about her sadness, about her own exhaustion with the world’s limitations, about her sister’s recent suicide. She got it in a way that so few people do— to really experience the unbearable way that world cannot understand you— to feel the pain of loneliness, of boredom, of limitation. She was a beacon of a kind of consciousness that screamed out, fought breathlessly for the future— and exuded unapologetically a kind of darkness that was essential and real in its ugliness.

She was, for this pocket for the internet, an ambassador of a new code of beauty, and kindness, and understanding, and ruthless identity transformation. Mark was someone whose work you don’t realize is so important until they are gone.

A couple months ago, she posted a picture of a recent tattoo. A sigil, in honor of her sister: “to save me from drowning.” In a description of one of her works, Mark explained: “It’s that thing where you realize that your own attempts at passive aggressive manipulation and power don’t stand a chance against the structural forms of DOMINATION against your body.”

It feels terrifying and hopeless and stupid that I know that is what killed her. That no matter how sanctioned and sacred and full of love and inspiration the space you create for yourself online can be, that sometimes it does not change the crushing experience of an everyday reality that reifies an abject hatred and contempt for your existence.

- -

I went to bed last night, defeated that we had lost a leader. I woke up this morning believing that out of the ashes of annihilation and despair, that Mark has left us with some hope.

As I write this, Tumblr is in mourning. My dashboard is a series of echoes of Mark’s work, her philosophies, her videos, and the people she affected. There are many eulogies like mine, most from people who knew Mark personally. And then there are the rest of us— those who never spoke to her, who only knew her through the presence she cultivated online— those of us who are asking, now, what is the appropriate expression of mourning for someone we never knew?

Last night, Colin Self presented a call to arms to the Tumblr-sphere. He posted a video of himself brushing his hair the way Mark used to, over and over again into an OCD level of smoothness, painting his lips a deep MAC red, pursing them like Mark did, lip-syncing breathlessly with Donna Lewis, “I Love You, Always Forever, near or far, closer together…” This morning, my dashboard is inundated with video after video that gayinterest has reblogged in tribute to Mark. People from all over tumblr painting their lips, brushing out their top-knots, lip-syncing to our anthems. We Found Love in A Hopeless Place. We Can Work It Out. More Than A Woman. Aretha’s Skylark (“Won’t you tell me where my love can be? … Won’t you lead me there?”).

We are taking up Mark’s work. We are using the echoes of her fierce presence, the archive of her virtuality that she has left behind, to create new work in her honor. We are using her same video platform in imitation, in tribute, in order to publicize Who She Was and Who She Is Becoming. We are using our queer internet videos to make her visible. We will ensure that she is seen.

I hope that her virtual archive doesn’t become a meme. That she is not as quickly forgotten as the popularity of her death has spread like wildfire over the internet. Who will keep up her virtual presence? What can ever replace calloutqueen? Which of us will break us out of the cycle of tribute and of imitation and lead us into the kind work that Mark would have wanted to create but didn’t have time to?

This is our project, now. This is our charge. Like everything else, it is terrifying, and daunting, and important.

And Mark has challenged us not to fuck it up.

reminder to myself.

cloudnoise: Like If you’re gonna be a straight white male Dom You had better get into feminisms and...

Thu, 24 Jan 2013 02:04:41 -0500

cloudnoise:

Like
If you’re gonna be a straight white male Dom
You had better get into feminisms and deep cuz I’m not tryna fuck with some intellectually lazy, politically abhorrent “play rapist” looking to spray his repugnant psychic load all over what should be a negotiated and ideally therapeutic scene

: lebanesepoppyseed: The rappers/hip hop/performers/artists/etc that I’m...

Sun, 13 Jan 2013 02:04:43 -0500

: lebanesepoppyseed: The rappers/hip hop/performers/artists/etc that I’m...:

lebanesepoppyseed:

The rappers/hip hop/performers/artists/etc that I’m here for:

Azealia Banks

Dai Burger

Venus X

M.I.A.

House of Ladosha

Zebra Katz

Njena Redd Foxx

Big Freedia

Santigold

Maluca

Snow The Product

Rye Rye

Miss Prada

Mykki Blanco

Nicky

Cakes da Killa

Le1f

…and so motherfuck these assholes:

Diez Antwioord

Kreayshawn

Lil’ Shitty

I can’t even tell the last two fools apart

Any of that stupid cracker bitch mob shit

Igie Alaeza

and pretty much like all the other cracker rappers dominating our culture nowadays

YOU AIN’T ABOUT THAT LIFE, WHITEY

“I’m just tired of pretending that I’m unworthy.” - singi

Thu, 10 Jan 2013 22:21:21 -0500

“I’m just tired of pretending that I’m unworthy.” - singi

How I Landed In The Ring With Azealia Banks & Perez Hilton | xoJane

Tue, 08 Jan 2013 18:51:49 -0500

How I Landed In The Ring With Azealia Banks & Perez Hilton | xoJane:

themodernistwitch:

microphoneheartbeats:

Hey look!

The magnificent Janet Mock wrote about the whole Azealia/Angel/Perez thing in a way that treats everybody as human and flawed, calls nobody a waste of oxygen, gives no passes for misogyny or transphobia or homophobia but simultaneously recognizes the racism involved in double standards and coverage of black public figures compared to white ones AND calls out mainstream gay media and activism for only caring once the slurs were directed at gay men. And recognizes that we can all still love problematic and complicated pieces of cultural output!

Basically, Janet Mock is amazing? Yeah. That’s the takeaway here.

Janet Mock #1.

Interexperience

Fri, 04 Jan 2013 02:10:54 -0500

gameaway:

Why have we limited something as important as an interactive form of cultural expression to a term like “videogames”? Isn’t it true that it’s probably due to someone who a long time ago thought it would be fun to play games on a computer? They would play games. On a computer. They wouldn’t play videogames, no, they would play games on a computer.

Some engineers and software developers thought about this for a while after entering the videogames industry and realised they wanted something more. I won’t be naming them here since the name of their company isn’t the important thing (I’m sure you can figure it out on your own with a little bit of research) but recently they held their first event with the purpose of gathering developers of similiar minds and presenting their results. What can be explored? How far can we go?

I personally also believe that we’re restricted by the whole term “games” which is why I’d like to bash in the head of whoever said it first but even with such a limiting form we’ve been blessed with innovations like Fahrenheit and The Path. Two great examples of just how different games can be from one another rather than just having the exact same idea with their own twist.

I’d also like to say something in regard to the indie-developers out there. Don’t mistake indie-developers for innovative developers or companies that produce material of a different kind than the major ones. There are a ton of rip-offs out there and only a few really stand out. Don’t get me wrong, I love games. But I also love other things like taking a walk with friends, getting stressed out on facebook, breaking my Gameboy Advance SP in half when I get pissed off but when there is a whole other world… no, let me rephrase that, when there are billions of other possibilities that we haven’t explored I want to explore them. There’s nothing wrong with liking games the way they are, but the fact that we’ve become limited by them or rather that we are and always have been limited by them is a painful fact.

Here’s an example of what can be done when you’re not limited by the word “game” or the criterias for being one: http://blabla.nfb.ca/

So what I’d like to do is to create something entirely new, something that would serve as the creator for the category “games” on computers, and I’m not talking about “software”. The actual content already exists, but we need something that’s broader than just “videogames”. Making up a word based on the criteria for it to have a foundation in an or several actual words is hard, but for now I’ll settle with “interexperience”. It may sound ambitious but this, or a simplified form of it, is what I will call everything that resides within interactive experiences such as games or interexperience like The Path. Do you have any better ideas for the name or can you come up with a simplified form that is easy to remember and pronounce?