"In 1998, the famed science-fiction writer and literary critic Samuel R. Delany sent a letter of rejection, via fax, to Shu Lea Cheang. In his characteristically polite and analytical tone, Delany lamented that he was not able to write the screenplay for Cheang's then-upcoming film, 'I.K.U.' Cheang had invited Delany to write 'I.K.U.' because she believed he would not only be able to provide an added dimension of fantasy and futurity to her Japanese sci-fi porno, but also imbue a sheer abandonment and indulgence into the script, potentially transforming the depiction of sex on screen. But it was the wrong place and time. Ironically for Cheang, a self-proclaimed "digital nomad" who at the time was doing a residency in Tokyo, the New York-based Delany did not have email, making their long-distance communication extremely difficult. The two could only communicate via fax and phone calls. What could be invariably described as a "missed connection" nonetheless illuminates the way Cheang bridges a multitude of cultural domains and relates to other artists, who are not so much her collaborators as they are the rhizomic branches of her various elaborate, multilayered open-source projects." (Abstract taken from the article's first paragraph).

This article reflects on the videography of Shu Lea Cheang, her relationship to cyberfeminism, and her explorations of technology and the internet through her films.