Ania Malinowska

Ania Malinowska is a cultural theorist, poet and author. She is a professor of media and cultural studies at the University of Silesia in KatowiceUniversity Bio (Institute of Culture Studies and Centre for Critical Technology Studies), and a former Senior Fulbright Fellow at The New School in New York. Malinowska's research interests include the evolution of socio-cultural norms with regard to emotions in technoculture. In her publications and studies, she focuses on the codes of feelings in the technosphere, the analysis of cultural patterns in the context of people and intelligent machines, Artificial intelligence|AI, as well as the affective potential of digital devices.
==Biography==
Malinowska was born in Poland and grew up in Wolin, a town on the Wolin island off the Baltic coast in Western Pomerania. She earned a B.A. in English at Adam Mickiewicz University in Poznań in 2001, to later receive M.A. in literary studies in 2003 and a PhD in cultural studies in 2012, both from University of Silesia in Katowice.
In September 2018, Malinowska moved to New York to work as a Fulbright Research Fellow at the New School where she stayed till May 2019. Formerly an assistant professor at the Institute of English Cultures and Literatures of the University of Silesia (Sosnowiec), upon her return she started working at the Institute of Culture Studies (University of Silesia) in Katowice where she is currently based.
In December 2020, Malinowska became a full University Professor. In the same year, she co-founded (together with Michał Krzykawski) a Centre for Critical Technology Studies – a transdisciplinary research unit exploring the complexities of post-automation in technological advancement.
==Works==
===Cultural Criticism===
Malinowska's work revolves around the problems of post-human relationships and technologized interactions, especially the semiotics of intimacy and modern systems of feeling. Her book Love in Contemporary Technoculture unravels the seeming conflict between technology and the experience of loving. It claims, "modern technologies do not change love [… but] unveil love's inherent technicity in how they extend the experience of loving beyond the experience's expected nature".Love in Contemporary Technoculture (Cambridge University Press, 2022)Book Review of Love in Contemporary Technoculture, Neural Magazine
Malinowska is a strong critic of anthropomorphic tendencies in AI modelling. As she has described publicly, the naturalization of intelligent machines "reflects cultural fears and conflicts that have determined our approaches to robot design and robot representation"."Demonic interventions. On robots as performing subjects"], Performance Research, 26(2)/2021, p. 123. It possibly hinders machines' inherent affordances — ones that stem from their physical properties. Malinowska believes "the robot body offers a nearly infinite alternative repository of physical experience in all possible contexts [and can] expose us to a new dimension of sensory and cognitive experience.""Robot gender. A provocation". Girls To The Front (Issue on Future), September 2019, p. 90. This line of thinking stems from her earlier writing about oppressive normalcy, which discusses the cultural appropriation of the queer body and the disabled body, constantly naturalized by the imposed standards of physical performance and personal conduct.See "Lost in representation. Disabled sex and the aesthetics of norm", Sexualities,21(3)/2018, pp. 364-78.
Malinowska is an enthusiast of art-inspired cultural criticism — an approach adopted in her collection Data Dating. Love Technology Desire (co-edited with Valentina Peri)."Data Dating. Love Technology Desire." Data Dating. Love Technology Desire ISBN 9781789384956, Intellect Books (November 1, 2021)
To coincide with the 10 year anniversary of the dating platform Tinder, Malinowska was interviewed by CNN's international affiliate N1 to discuss "How Apps (and their algorithms have) Changed Our Love Lives".CNN's N1 "How Apps Changed Our Love Lives" 
===Poetry=== 
Malinowska debuted in artPAPIER with a selection of Polish poems.Anna Malinowska, Wiersze, Art Papier 23(239)/2013
 In 2020, together with artist Pola Dwurnik, she published Unhappy Ending. Poems for the Broken/Hearted, a poetry artbook depicting the morphology of a heartbreak. The book turned into an exhibition of Dwurnik's paintings with Krupa Gallery''Unhappy Ending, Krupa Gallery and later into an improvised recital accompanied by jazz double bassist Kamila Drabek. The Unhappy Ending Trio first performed at Katowice Jazz Art Festival in 2021."Unhappy Ending na zakończenie lockdownu. Spotkanie z malarstwemi muzyką w Mieście Ogrodów", wyborcza.pl. 26 maja 2021. In addition, this collaboration further led to launching The Unhappy Ending Project — a multimedia online exhibit that includes written poetry, artwork, music, and a short film. "The Unhappy Ending Project"
Since 2019, Malinowska has innovated textrapolations, an experiment in collage assembly poetry executed by utilizing cut-up technique as well as recently in ink stamps.Textrapolations collection on Instagram
===Fiction===
Malinowska has authored one feature novel in Polish — Plan B (Wydawnictwo Dragon, 2021)Ania Malinowska, Plan B (Wydawnictwo Dragon, 2021) and one short story "The Island for the Lost" in Dispatches from the Institute of Incoherent Geography (FlugSchriften, 2019).Dispatches from the Institute of Incoherent Geographies (FlugSchriften, 2019)
Category:Polish authors
Category:Polish people
Category:Polish poets