her friends. Like her, they found the internet provided them with seemingly endless opportunities for exploration and experimentation. Using avatars, or digital on-screen extensions of herself, Amina spent time online almost every afternoon, playing
Time-Tricking and the Limits of Temporal Play in Children’s Online Film-Making
The Imaginary Present and the Socialities of the Inorganic
Henrietta L. Moore
This article explores the frailty of particular notions of 'actant' and 'affect' for an understanding of the emergent socialities that cross virtual and actual worlds. It uses work on robots and avatars to explore a humanly grounded theory of sociality. It discusses the virtual character of selves and social relations, and how forms of presence apparent in robotics and virtual worlds both enhance and augment our understanding of specifically human forms of sociality. It suggests that critiques of subject-object dualisms do not depend on a rejection of the distinctiveness of anthropos.
This article modifies philosopher Tamar Szabó Gendler's theory of imaginative resistance in order to make it applicable to film and analyze a distinctively adverse kind of resistant response to James Cameron's Avatar (2009). Gendler's theory, as she states it, seeks to explain resistance to literary stories in a straightforwardly cognitivist, but narrowly rationalistic fashion. This article introduces elements from recent work at the intersection of philosophy of film and the emotions to augment Gendler's theory so that it can be used to explain why some viewers hesitate or even refuse to imagine some cinematic fictional worlds. The method used is analytic philosophy of film. The analysis reveals that some viewers are cognitively impoverished with regard to imagining race in general: they will likely have extreme difficulty in centrally imagining racially "other" characters, which also bodes ill for their real-world prospects for moral engagements concerning race.
Counterfeits, Comedy and the Supreme Court
anxieties into comedy. 17 Avatars of Xavier Alvarez are not far to seek near the heart of Elizabethan political culture and its disciplinary apparatus. Rory Rapple quotes Gabriel Harvey’s 1578 flattery of the Earl of Oxford as ‘Achilles … come to life again
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.
Pinterest Cyber Collections Archive Available Female Identities
Collection is an important activity and marker of childhood. In this article I will discuss Pinterest as an online iteration of the collection process. Through Pinterest, users amass bits of information online, known as pins, to display on virtual bulletin boards. My project positions Pinterest as an influential text and literacy practice related to identity production with particular impact on girls. With obvious parallels to the keeping of commonplace books, Pinterest is an act of virtual curation that shapes a pinner's present and future identities. In the Pinterest space, girls see and collect ideals of femininity (displayed in recipes, fantasy weddings, and parenting tips) and in so doing create their own online avatars. This practice requires a critical awareness as users reinscribe, resist, or reinforce cultural norms of femininity. This article offers a conceptual base for future systematic study of Pinterest as a text and practice of girlhood.
Animation, Primitivism, and the Choreography of Vitality
his movements” onto a company of computer-generated Bill T. Joneses, avatars who moved like Jones but did not look like him ( Kaiser 2003 ). Jones spun off a number of movement-based personae—including what Kaiser calls an “ancestral figure” as well as
David Detmer and John Ireland
, whose Cassandra can also be seen as an extreme avatar of Sartre’s dashed hopes for committed literature. The next three articles focus on Sartre’s philosophy. Gavin Rae’s topic is the relationship between Sartre’s thought and that of Jacques Derrida
different point. In a recent article in Projections I argued that some viewers may experience profound difficulties imagining the narrative of Avatar (James Cameron, 2009) because they refuse to conceive of its racially inflected, hominoid characters
John Ireland and Constance Mui
: Reviving Social Hope (Chicago: University of Chicago Press, 2017, reviewed in this issue), declares war on the market and conservative forces that “privatize hope.” Aronson seeks in response arenas of “social hope”, contemporary avatars of “groups