..., seemingly intuitively, the three basic identity supports that are the proper name, the portrait, and the imprint. The portrait is drawn with a pencil, the cheek is a molded imprint of the artist’s, and the work is signed Tongue in Cheek , Marcel Duchamp, 1959. Marcel Duchamp readymade signature...

... the technological revolution. Rather, the indexical nature of the photographic imprint shares ontological immediacies with originary Ancestral imprintation, conjoining in her work, to command a new revelatory potency. The mediatory capacities of the digital allow the real work of tradition to reveal itself...

... Evolving through their everyday practice as community artists, they offered neither treatises nor manifestoes, but the straightforward example of lives animated by this purpose, leaving their imprint on the myriad individuals and community they embraced. The Arkestra and UGMAA demonstrated...

... of the photographic imprint shares ontological immediacies with originary Ancestral imprintation, conjoining in her work, to command a new revelatory potency. The mediatory capacities of the digital allow the real work of tradition to reveal itself. digital literacy anthropology of Indigenous media...

... songs transforms narrative space. The chapter concludes with a discussion of Zhou Xuan, the first proper star of the era of the sound film. Zhou’s films cemented the conventions of the singing film while also forging a mythology of the songstress as melodramatic victim, one that would leave an imprint...

... Hitchcock’s poetics is predicated on strategies and tactics for keeping notions of the author-director vibrantly present as a story feature. This playfulness not only presents the director visually as a cameo figure but, as importantly, suggest his imprint via surrogate characters and doubles...

... reveals the entangled histories of colonialism and the American imperial presence in Asia. The chapter illuminates the contradictory cultural effects of Asian American involvements on the discourse on American justice, militarism, race, and nationalism. The chapter traces these indelible Cold War imprints...

... political power and aesthetics, especially the aesthetic form of knowledge in books, using examples from both Díaz’s novel and Shakespeare’s play to demonstrate that politics is itself an aesthetic practice. It is an endeavor rooted in individuals’ desire to impose their imprint upon particular situations...

... of pharmaceuticals, disease control interventions, humanitarianism, clinical trials, or experimental social projects. But it qualifies claims to radical novelty and historiographic closure, and it sharpens the eye to elements that are both an imprints of past forms and foreshadowing future states. para-state...

... and aesthetics, especially the aesthetic form of knowledge in books, using examples from both Díaz’s novel and Shakespeare’s play to demonstrate that politics is itself an aesthetic practice. It is an endeavor rooted in individuals’ desire to impose their imprint upon particular situations and things...

... reveals the entangled histories of colonialism and the American imperial presence in Asia. The chapter illuminates the contradictory cultural effects of Asian American involvements on the discourse on American justice, militarism, race, and nationalism. The chapter traces these indelible Cold War imprints...