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On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

demands of combat. I will then seek to demonstrate the profitability of applying Benjamin’s model to two stunning products of American underground film: Marie Menken’s short film Go! Go! Go! (1962–1964) and Jonas Mekas’s much longer Walden (1969). 4

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Biased Render

Indigenous Algorithmic Embodiment in 3D Worlds

Joshua D. Miner

This article explores the digitality of Indigenous bodies within contemporary 3D video games by mainstream and Indigenous developers. Its analysis relies on a critical examination of digital image synthesis via real-time graphics rendering, which algorithmically generates the visible world onscreen from 3D geometries by mapping textures, generating light and shadow, and simulating perceptual phenomena. At a time when physically based, unbiased rendering methods have made photorealistic styles and open-world structures common across AAA games in general, Indigenous game designers have instead employed simplified “low res” styles. Using bias as an interpretive model, this article unpacks how these designers critique mainstream rendering as a cultural-computational practice whose processes are encoded with cultural biases that frame the relation of player and screen body (avatar). The algorithmic production of digitally modeled bodies, as an essential but masked element of video games, offers a territory where Indigenous developers claim aesthetic presence in the medium.

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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.

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Lieke Hettinga and Terrance Wooten

distinct conceptual models for understanding the interconnections between gender transitions and the cinematic practices of disjunction and conjunction (20). By accompanying each chapter with a particular typographic sign, Steinbock usefully highlights how

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Digitizing the Western Gaze

The End FGM Guardian Global Media Campaign

Jessica Cammaert

three and forced into marriage at thirteen, but moved to Germany shortly thereafter to become a runway model. In the film adaptation, the beautiful Dirie is played by Liya Kebede, a former “America’s Next Top Model” participant. Her beauty contrasts with

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Andrew J. Webber

-cultural allegorization that is the more general condition of this primary social unit. The family became a nuclear body politic, an essentialized model for the cohesion, discipline, and fertility of the Volksgemeinschaft (literally, people’s community), understood as

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Steven Eastwood

human interaction. Cinemautism has some commonality with this notion of autism as schizoanalysis. It identifies a potential cinematic arrangement radically different from the inferential model. Cinemautism also has confederacy with Deleuze’s (1989

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

-European model, there are connections that can be established with the travesti model in Argentina. Serano's (2007) conception of the deceiver relates to a trans woman's ability to pass and thus seduce straight men. In other words, the deceiver is constructed

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Emma Celeste Bedor

Moore’s model. We can concede that persons submitting photographs to these sites find pleasure in humiliating former partners, that such an enactment of “revenge” is satisfying, albeit malicious. But what are we to make of the thousands of other visitors

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Embodiment, Curation, Exhibition

Douglas Gordon’s “Pretty much every film and video work from about 1992 until now”

Jiaying Sim

produce a difference through affective encounters that do not function through representational models (i.e., how much we can see this transformation). Thus, the exhibition poses a question back at us to reconsider if we may regard the installation or