Part One:
The Cyberfeminism Index
In the past three years, we saw the Cyberfeminism Index on every hot, internet-pilled girl’s bedside table. Mindy Seu’s newest publication, A Sexual History of the Internet, is sure to follow in its lead.
The first time I saw the green book was in its birthplace, or at least across the river from Cambridge, in a Boston bookstore. It’s a thoroughly academic, transient city. The winters are long and cold, and the summers are hot and virtually desolate.
While studying at the Harvard Graduate School of Design (GSD), Seu created a viral spreadsheet where contributors were invited to submit to an anti-canon, cyberfeminist, internet history. She would later win the 2019 Design Studies Thesis Prize for Cyberfeminist Catalog 1990-2019. The project became the webpage cyberfeminism.com. In 2023, the Cyberfeminism Index was traditionally published by Inventory Press. It functions as an encyclopedia and archive. Seu reframes the author not only as a producer, but as a curator.
Attending a nontraditional graduate program is in line with Seu’s overarching narrative. The GSD’s Master of Design supports alternative practices by facilitating concentrations in publics, narratives, ecologies, and mediums. This is her first divergence from the canon of the graphic designer, which is stereotypically marked by a BFA from an art school and an advertising adjacent practice.
A Sexual History of the Internet Lecture Performance
A Sexual History of the Internet is a lecture performance and an artist book that is the size of a phone. A phone is the vessel, or as artist Melanie Hoff calls it, a “sex toy”[1], that each attendee will experience the performance through.
I went to the Hamburg performance on November 6th, 2025. If Seu’s Cyberfeminism Index tour had an air of production, this is the lecture performance in its final form. It begins academically, with stilettos echoing on hard floor. This brought me back to 6th grade when I had a pumpkin-haired teacher who enjoyed shopping for high heels during class. The event’s crowd was well dressed, mostly in black, and English was the overwhelmingly spoken language.
I arrived on time and was late as a result. I had forgotten about German punctuality. I settled on the back stairs overlooking the main floor. It felt like watching the trailers play before the movie came on. When the lights went red, and Seu entered the room, it only took a second for the chatter to still. She is undoubtedly a gravitational personality.
In a phone-based lecture, your device is no longer your own. It becomes a projector, a green screen, and a whiteboard for the lecturer to disseminate their research. Ideally, you would never even touch your screen. Due to the internet connection, the lecture vehicle (Instagram Stories) experienced continuous lag. This resulted in a disjointed collective voice during the audience participation portion. The moments in which Seu recited the script herself, unwavering and professor-like, were the best of the night.
The book was born out of necessity. Early Instagram accounts featuring the lecture were taken down due to violations of Meta’s content guidelines. Adult nudity is prohibited, real or computer-generated. Nudity is allowed in the case of art or medical imagery, which is likely the reason that the account is live today.
In Seu’s 2023 MFA course at Yale School of Art, graduate student Julio Correra was experimenting with “Instagram Stories as a vehicle for publishing”[2]. She credits Correra as the originator of this concept, which speaks to her ethos to “aggregate, together with collaborators, disparate pieces from an ecosystem, and develop the appropriate container”[3]. Attributing this early concept to Correra is valuable and mutually beneficial. He is cited as 1 of 30 creators of the book on Metalabel.
The Gatherer
This publication makes use of a new model of profit distribution. In traditional publishing, the author will earn around 10% of the royalties, and the publisher 90%. In this case, the profits are divided: 10% Metalabel, 60% team, and 30% contributors. If the print run of 4000 sells out, each contributor will earn $850 USD.
Yancey Strickler founded Metalabel, a “collaborative publishing and releasing tool” where “A group of authors collectively releasing a work becomes practically very possible”[4]. On the platform, he created the group, The Dark Forest Collective, which A Sexual History of the Internet is a part of. Its members include Yancey Strickler, Joshua Citerella, Mindy Seu, and more. There are also contributors who have played a role in a project.
Through the act of gathering information, Seu brings it into her metaphorical pile. Her role is in taking abstract knowledge and resources and centralizing them. A pitfall of this model is that the discourse can surround the person at the forefront of the conversation rather than the individual contributors.
Part Two:
The Graphic Designer to Literally-Anything-Else Pipeline
The graphic designer to literally-anything-else pipeline is a phenomenon where one studied design as an undergraduate, but has a career in anything and everything else. It’s a type of figure or character [5]. Seu is an example of this. She has a BA in Design Media Arts from UCLA, but outsources the design of her books to her collaborator, Laura Coombs.
Silvio Lorusso, designer, professor, and author of What Design Can’t Do and Entreprecariat, “writes and talks about design, though [does] very little of it, and [believes] in it less and less” [6]. My own undergraduate professors were not disillusioned by what design is in the world. One of them, a Yale MFA graduate, remarked that “the purpose of design is just to make the world a more beautiful place”.
In creative circles, everyone has a friend who studied graphic design but pivoted to social media, film, big tech, fashion production, or accounting. As a design graduate myself, I have lived experience working alongside designers and their evolved form: the artist influencer. Famous examples are Maya Man, Harriet Richardson, and Molly Soda. They have roots in graphic design, but have become artists, period, with projects like A Realistic Day in My Life Living in New York City and (The Angels Wanna Wear My) Red Shoes.

At the Institute of Network Cultures, In conversation about the Internet Theorist, a colleague proposed that “Joshua Citarella has to be buff, and Alex Quicho has to post her selfies”. They perform what they practice. In that sense, Mindy Seu has to model for Jaquemus, host events for Pornhub & Pillow Talk, and lecture at UCLA the next morning. It’s part of her character design; her projected image has become her lived performance. Seu has become synonymous with her LA apartment. Her bachelor pad is so #2016 core LA pink wall coded. It’s aspirational. I would have reblogged it on Tumblr. Being an artist is a performance, as is being a lecturer.

Mindy Seu’s Los Angeles apartment. IG @mindyseu.
In November of 2025, a TikTok user filmed a series of videos praising the meandering and nonlinear career, amassing over one million views. Joining the conversation, another user made a video with Mindy Seu’s CV as the background, dubbing her the patron saint of career breadth. The discussion contained praise and curiosity, “Commenting to stay on multi-passionate tok”, and “Who is Mindy Seu and why do we have her spreadsheet anyway?”. The instability of the current job market is reflected in the popularization of job related discourse and memes: jobs girls want, handing you a job application, and jobs people, jobs.
The existence of the Influencer Theorist is a result of the shift to project-based work in the gig economy. The Americanism of worshipping fame, money, and success above all else reinforces this. In the States, it’s a cultural belief that notoriety and success are one in the same. The viral theorist has both #normcore social currency (job) and digital social currency (loyal followers).
A Day in the Life of a Graphic Designer Turned Wannabe Influencer Theorist
To propose this particular wannabe Influencer Theorist, I first had to attend four years of art school. My favorite professor at Boston University wore Ganni and Tabis. A former BFA student got hired at Baggu, so my classmates and I worshipped Baggu. Halfway through my degree, I started admiring graphic designers who publish. I happened to join the design department around the same time as Kathleen and Christopher Sleboda of Draw Down Books. In 2022, they began hosting the Multiple Formats Art Book Fair, where I attended panels featuring Printed Matter, Queer.Archive.Work, Genderfail, and Catalog Press. The most memorable lecture was Brendan Page’s on The Villa, a publication made from feeding thousands of Love Island stills into 3D scanning software. My interest in alternative design practices rooted in theory and research led me to the publication, The Lazy Art of Screenshot, and eventually to work at the Institute of Network Cultures.
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POV: You wake up in Sandy Liang bow socks with a slit cut for Margiela Tabis. God, they were expensive, but they sure are chic. Time for your morning routine: flipping through Instagram Stories. You’re captivated by an Influencer Theorist modeling for Helmut Lang at 9, and guest lecturing by 11. How do they do it?! Time to post on main: Subletting Bushwick apartment December 21st-26th, $200 per day. Includes a laser printer, many design books, and Gustaf Westman tableware. Friends, or friends of friends only!!!
Your bio says bi-coastal, so to keep up appearances, you book a Spirit flight to LAX. Can’t be too expensive, we have #Eurosummer to think about. You’re planning on crashing the Venice Film Fest and staying at your study abroad host mom’s. It’s a long bus ride to the island, but you’ll be out partying all night with Timothee Chalamet look-alikes anyway.
Today calls for a full GANNI sweat set. You’re tired from country line dancing at Buck Wild with New York’s laptop class. Before Stud Country closed, you used to see Kaia Gerber there. You’re winded from the six flights of stairs down to the lobby. There’s no elevator, duh, this building is pre-war. You stop into a Blank Street Coffee. You need to grind on crossposting for your Are.na and Substack presences. Wait, the guy ordering a cortado looks so familiar. Isn’t he the hot line cook from Addison Rae’s music video?! He’s, like, really TikTok famous. You should ask him to come on your podcast. You haven’t filmed an episode yet, but at least you have a name… something with ‘Famemaxxing’. It’s pretty theoretical.
You order a sugar-free double iced vanilla latte with oat milk. This week, your calendar is full. You have to choose between a Chamberlain Coffee nighttime matcha rave at The Box or a Feeld x 818 Tequila arthouse film event in Dime Square. #Indecisive. You dig around your Baggu Colinda Strada Bag for a pen. Oh! So that’s where your cotton candy vape went. (You’ve been trying to get into cigarettes).
*ding*
An email from a publication you admire sends you right up out of your seat. Could it be!? Finally, a clouted opportunity at the correct intersection of arts and academia, not mainstream but not underground. You forget all about Famemaxxing, Gio the line cook, and your forthcoming Substack essay. Time to drop everything, hyperfocus on this opportunity, and rule out all possibilities of not being chosen. It’s called manifestation. You’ve got this, and you didn’t even need to niche-down.
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The wannabe Influencer Theorist looks up to Mindy Seu. They can only become enlightened when person and persona are indistinguishable, when their projected image becomes their lived performance. Authenticity becomes a finite, mineable resource in the performance of existing online. Is the influencification of these roles: theorist, designer, dentist, harmful? No, not necessarily. Is it spiritually American? Yes. The practice is rooted in the culture of fame-worshipping. Sure, Utah’s early Mormon mommy bloggers weren’t initially in it for the money, but look at the Secret Lives of Mormon Wives now. In American-derivative work, everything increases in size, fame, and cost.
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Eva Brown is a Graphic Design graduate of Boston University’s College of Fine Arts and Intern at the Institute of Network Cultures. She is interested in expanded publishing, digital futures, internet aesthetics, and The Book as an object.
[1] Mindy Seu, A Sexual History of the Internet, 00:45. https://asexualhistoryoftheinternet.com/.
[2] Mindy Seu, A Sexual History of the Internet, 19. https://asexualhistoryoftheinternet.com/.
[3] Mindy Seu, “On Gathering”, Shift Space, 2023. https://issue1.shiftspace.pub/on-gathering-mindy-seu.
[4] The Institute of Network Cultures, .expub, Exploring Expanded Publishing, 180. https://expandedpublishing.net/.
[5] Geert Lovink, Platform Brutality, Chapter: The Principles of Figure Design. https://valiz.nl/en/publications/platform-brutality.
[6] Silvio Lorusso, What Design Can’t Do, biography. https://www.setmargins.press/books/what-design-cant-do/.






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