.dpi is a feminist journal of art and digital culture. Based in Montreal and published online, .dpi offers a unique and bilingual space for dialogue and interdisciplinary critical reflection, research, experimentation, and documentation. .dpi is a space where many voices situated at the intersection of art, technology and feminisms can be heard.
Fueled by critical, engaged and curious folks of all walks of life, .dpi is interested in questions related to the reality of feminist artists today, to the construction of feminist discourses around digital culture, and to the relationships between art, feminisms and technology.
Like art or technologies, feminism is inherently contentious or constantly evolving, and thus, a potential source of innovation. .dpi acknowledges the plurality -- even the antagonism -- at the basis of feminisms and welcomes bold -- or better yet polemical -- contributions situated within a framework of anti-oppression.
.dpi is a participatory and user-generated space for dialogue and community building. The journal especially welcomes both personal approaches and collaborative ways of working. By means of its blog and an electronic publication published three times a year, .dpi endeavours to provoke exchanges across different communities.
Produced with the support of Studio XX, .dpi values the work of local communities, particularly that of artist-run-centres and collectives, while making connections with regional and international perspectives.
Established in 2004 by Patricia Kearns and supported by an editorial committee including Sarah Brown, Anna Friz, Marie-Christiane Mathieu, Caroline Martel, jake moore and Miriam Verburg, .dpi was born of the desire to establish a creative and scholarly interdisciplinary platform where the contributions of women to media art history could be prolifically documented. A publication that would contribute, in its own way, to feed and build a reflection on and around the Web, participating not only in the history, but also in the creation of cyberfeminist thought.
.dpi's name originates from the measurement of digital print resolution, ‘dots per inch’. In their form, pixelated images have similarities with historical craft such as embroidery and needlepoint. The title of the magazine therefore creates connections between traditional female roles and the computer matrix.
Nearly ten years after its foundation, in 2012-2013, .dpi has undergone an important process of transformation with the goal of reaffirming and re-focusing its structure and mandate. Benefiting from the ongoing support of Studio XX’s resources, .dpi has acquired the status of an independent project with a new platform and a renewed editorial committee. This has been facilitated by a permanent editor in chief, who is now responsible for the journal’s artistic and editorial orientations.