disrupted ( Green et al. 2004 ). The effect of B4W might be such a disruption from within. From a filmmaking point of view, Tom Brown claims that it is often assumed that B4W “destroys the illusion of the story world and, by acknowledging the technology
How Breaking the Fourth Wall Influences Enjoyment
Daniela M. Schlütz, Daniel Possler, and Lucas Golombek
digital technologies, and so on. 4 My sense of “embodied cognition” aims to be broad and should not suggest any particular research program, such as conceptualization, replacement, or constitution (see Shapiro 2012: 125 ). However, like much current
Animation, Primitivism, and the Choreography of Vitality
thinks that Western technology is magical; and third, by a fainter, perhaps, but stubbornly present ghost: the phantom of an outmoded racial slur—spook—used to identify a black person. Jones is African-American. Viewers unfamiliar with contemporary
Reading the Discursive Shadow in the Age of American Silent Cinema
Amy E. Borden
profilmic event and, in doing so, assert a profilmic iteration between bodies and image-producing technologies as fundamental to the ontological status of a shadow image. As we see in “The Vanishing Man,” the invention of the x-ray and the images it produces
(Re)imagining Immigration Narratives and Surveillance Practices by Experiencing "Use of Force"
This article introduces the concept of “pseudo-sousveillance” as simulated sousveillance practices created by the sensory environments of immersive technologies. To advance this concept, I analyze the virtual reality (VR) experience “Use of Force” that immerses participants within the scene of the night during which immigrant Anastasio Hernandez Rojas was beaten by border patrol officers at the San Ysidro Port of Entry. I argue that the pseudo-sousveillance practices of cellphone recording and surveillance from above enlist users to be active participants in resisting dominant surveillance practices by constructing alternative narratives about immigrant experiences, exposing the overreach of the border patrol, and revealing the limits of surveillance in immigration control. I then discuss the implications that pseudo-sousveillance has for rethinking the rhetorical power of emerging technologies and sousveillance in a surveillant age.
Video Visitation as a Form of Surveillance Technology and Its Effect on Incarcerated Motherhood
This article argues that the implementation of video visitation in correctional facilities is a mechanism of control used to enact punitive measures for regulating mothers who act outside the dominant paradigms of motherhood. Because prisons were designed to surveil and mothers have historically been surveilled by institutions, incarcerated mothers are often overlooked when we discuss the surveillance methods used to keep institutionalized motherhood intact. This article builds on existing scholarship characterizing surveillance technology’s role in criminalizing poor mothers of color, and considers the ways in which surveillance technology is used to normalize these mothers during their incarceration. Applying a Foucauldian framework, this article explores how adapting Video Visitation (VV)—a Skype-like video chat program—enables correctional facilities to extend the role of “watcher” and expand the panoptic gaze, which prompts mother-to-mother surveillance and intensifies self-surveillance. The article concludes by drawing attention to VV’s structure and its ability to expand correctional facilities’ surveillance to the children of incarcerated mothers.
Andrew J. Ball
I am pleased to begin the final issue of the year with a very special announcement. Screen Bodies is modifying its editorial direction and the kind of work it will feature. Many of our readers will already have a sense of these changes, made evident by the new Aims and Scope section we made available online earlier this summer, and by the journal’s new subtitle, The Journal of Embodiment, Media Arts, and Technology. As these indicate, the foundational commitments of the journal remain unchanged; however, moving forward will we intensify our focus on new media art, technology studies, and the interface of the sciences and the humanities. We will continue to examine the cultural, aesthetic, ethical, and political dimensions of emerging technologies, but with a renewed attention to such areas as intermediality, human–machine interface, virtual and augmented reality, artificial intelligence, generative art, smart environments, immersive and interactive installations, machine learning, biotechnology, computer science, digital culture, and digital humanities. The journal will continue to prioritize matters of the body and screen media, both in terms of representation and engagement, but will emphasize research that critically reexamines those very concepts, as, for example, in the case of object-oriented feminism’s nonanthropocentric approach, which asks us to rethink what we mean by bodies and embodiment.
Laura A. Sparks
Relying on select US government Torture Memos, this article develops the term “surveillance time” to highlight the ways in which surveillance practices, in this case within the material confines of post-9/11 detention centers, come to threaten humans’ subjectivities through temporal disruption and manipulation. While surveillance has lately been understood in digital terms, such as in corporations’ data-mining practices and in technologies like facial-recognition software, we should not neglect its material, embodied dimensions. Surveillance time ultimately asks us to reconsider how monitoring and information-harvesting practices blur the boundaries between human bodies and data. Attention to the relationship between torture and surveillance also opens up new possibilities for understanding the now-ubiquitous monitoring strategies integrated into everyday life.
Damien Smith Pfister
In the wake of the mass shootings in Dayton, Ohio, and El Paso, Texas, the Trump Administration floated the creation of a new governmental agency named HARPA, the Health Advanced Research Projects Agency, modeled after DARPA, the Defense Advanced Research Projects Agency, that could explore novel ways of curtailing gun violence. For an administration unwilling to entertain serious legislation to address the problem of gun violence in the United States, HARPA offered a way to appear to be doing something about gun violence. HARPA, advocates maintained, could house a project called SAFEHOME, an acronym for “Stopping Aberrant Events by Helping Overcome Mental Extremes.” SAFEHOME would use “breakthrough technologies with high specificity and sensitivity for early diagnosis of neuropsychiatric violence”; the proposal would draw on data from Apple Watches, Fitbits, Amazon Echo, and Google Home to predict when someone might be on the cusp of mass violence (Alemany 2019). The guiding assumption of SAFEHOME is that surveillance of this biophysical data, combined with extant surveillance of textual messaging, search patterns, social networking sites, and discussion boards would alert law enforcement officials to a prospective shooter. Think Minority Report (2002, Steven Spielberg) with digital surveillance technology playing the role of psychic precogs. SAFEHOME is probably (hopefully) a nonstarter in serious conversations about gun violence, given the tenuous link between mental health, physical disposition, and violence; the inevitability of data-profiling being articulated to minoritized subjects and false positives (imagine the first time SAFEHOME flags a SWAT team on someone having sex) and obvious concerns about such an invasive surveillance regime. But the very fact that a program like SAFEHOME is posed as a potentially credible solution points to a dimension of surveillance that complements this forum’s discussion of ubiquity: granularity.
This article focuses on representations of the yoga body on social media, explaining what the female body in an asana pose stands for in consideration of the dichotomy between Foucault’s docile body controlled by the technology of power and Anita Seppä’s “aestheticization of the subject” as a means of resistance. While socio-technological changes have introduced a new context in the modern era, the dominance of seeing and visual culture has remained central in late-modern society. Through social media, we have entered a new era of constructing self-identity in relation to gender and the body. Looking into the relationship between asana practice and self-identity in postural yoga, I investigate the imaged bodies of yoginis that function under the control of power and as a technique for self-actualization. Drawing from a visual analysis of Instagram posts and interpreting the bodily practices of yoginis, I will search for what happened to modernity’s docile body in the context of this new media.