Nahee Kim’s Daddy Residency is a long-term, multi-stage experiment that questions gender roles as they relate to childbirth, sex, family building, and parenting. Operated by nahee.app, a speculative program that writes itself while attempting to construct Kim’s sexual identity, preferences, and experiences as computational objects, Daddy Residency invites all genders and “daddies” to help raise Kim’s child, who will be born via artificial fertilization.
Kim’s multi-level projects comment on the social context of gender roles, identity, and sex and reproduction. Their algorithmic body of work interrogates programming languages and societal ideals of sex, family, and offspring.
Nahee Kim (she/they) is an artist, teacher, and web programmer who performs nahee.app on social media. Creating sex-code, documentation, and partner-matching algorithms that convert existing programming languages and network protocols into provocative interactions, nahee.app also programs its own experimental family through Daddy Residency, providing new forms of intimacy and domesticity as alternatives to the heteropatriarchal nuclear-family structure. Kim is based in New York and Seoul, and is one-third of the Korean artist collective 업체 eobchae and a member of NEW INC.
Anna L. Tsing, The Mushroom at the End of the World, 2015↩
Le Guin positions the container, rather than the spear, as the first human tool, following the writings of Elizabeth Fisher. Ursula K. Le Guin, The Carrier Bag Theory of Fiction, 1986↩
In “On Non-Scalability,” Tsing establishes that a primary critique of scalable frameworks is of their inability to maintain diversity. Taking that intrinsic flaw into account, we aim to not promote the amplification of a singular feminist framework. Anna L. Tsing, “On Non-Scalability,” 2012↩
In an interview with Jorge Cotte, Wendy Hui Kyong Chun states, “Every form of communication is based on a fundamental leakiness.” These leaks can be seen as moments of possibility. Wendy Chun, “Reimagining Networks,” The New Inquiry, 2020↩
Anna L. Tsing, The Mushroom at the End of the World, 2015; Anna L. Tsing, Roxana Fabius, Patricia M. Hernandez, Mindy Seu, “Big histories are always best told through insistent, if humble, details,” The Scalability Project, A.I.R. Gallery, 2020↩
In Glitch Feminism, Legacy Russell sees the glitch as a catalyst rather than an error, a “correction to the machine.” Legacy Russell, “Digital Dualism And The Glitch Feminism Manifesto,” Cyborgology, 2012↩
Here we are drawing from Judy Wajcman’s definition of interpretive flexibility. Wajcman describes technology’s malleable character, emphasizing that there is nothing inevitable about the way technologies evolve. Users have the power to radically alter technologies’ meanings and deployment. Judy Wajcman, TechnoFeminism p.37↩