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opacity

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 155–165.
Published: 01 September 2016
... opacity” through a discussion of his Facial Weaponization Suite (2011–14), a series of biometric masks that ask who and what we make visible to technology. Looking to the face as a critical site for negotiated visibility, Blas and Gaboury draw on diverse traditions of concealment and performance to frame...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 175–185.
Published: 01 September 2016
...Jennifer Rhee This essay examines the relationship between surveillance and opacity through artist Adam Harvey's “Anti-Drone” wear, clothing that evades drone surveillance and is part of his Stealth Wear (2013) project. Through an engagement with opacity, the author argues that “Anti-Drone” wear's...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 149–153.
Published: 01 September 2016
...Zach Blas This introduction proposes opacity as a generative and necessary frame for contemporary feminist and queer politics. Theorized by the Martinican philosopher and poet Édouard Glissant, opacity can be understood as an incalculable alterity that is at once the relational ontology of the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 195–203.
Published: 01 September 2016
...Jasmina Tumbas In this interview, the author and Australian artist Jemima Wyman discuss the position of art and activism in Wyman's artistic practice. Focusing on opacity as a political position in the conception and production of her artwork, Wyman comments on her use of patterns, performance, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 187–193.
Published: 01 September 2016
... contemporary articulations of queerness and queer sex rest on notions of opacity. This mirrors the production of plastic and the ways in which this alienated material has influenced our lives. Given this congruence, what might be borrowed from the figure of plastic for contemporary politics and organizing...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2006) 21 (3 (63)): 153–156.
Published: 01 December 2006
... qualities, while she was forgotten and her films allowed to disappear. As if distracted by the apparent ineptitude and perceived opacity of the films, feminist film theorists who focused on decon- structing classical Hollywood cinema made only limited attempts to understand the films that women...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2016) 31 (2 (92)): 167–173.
Published: 01 September 2016
... (2015). © 2016 by Camera Obscura 2016 undetectable HIV Gottfried Wilhelm von Leibniz optimism Figure 1. Tablet III from Protogaea by Gottfried Wilhelm von Leibniz (1749). GC6.L5316.749p, Houghton Library, Harvard University IN PRACTICE: OPACITIES The Fold of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 206–215.
Published: 01 September 1990
... point of view that makes it visible. This, in turn, reinforces the natural tendency of the image to become “objective,” to retreat into its opacity-that is, to open itself up to infinity, without being attributed to anyone. The numerous marks of identity that punctuate the exchange conflict...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1984) 4 (3 (12)): 89–106.
Published: 01 December 1984
... visible is to “signify the invisible,” and therefore the image cannot “create illusions,” ‘ ‘nor in its opacity. . .captivate and lead astray the movement of devotion” (Dikour~,Figure, p. 173). This example combines with another imbrica- tion of figure and discourse in the commentaries of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2003) 18 (1 (52)): 1–33.
Published: 01 May 2003
... . . . a powerfully signify- ing opacity.”55 Litvak refers here to Jane Eyre: “One of the major sites of the convention . . . that dissociates rhetorical . . . power from social power, producing a chiasmus in which the inferiority of oppressed or marginalized groups virtually guarantees their latent...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2007) 22 (1 (64)): 77–111.
Published: 01 May 2007
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 63–93.
Published: 01 December 2011
... body is thus given a depth, complexity, and opacity for the viewer, who can no longer maintain the illusion that the relation- ship between affective change and the performer’s experience can be rendered transparent. 78  •  Camera Obscura As can be seen in the differences between...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
... claims that what strikes us is the opacity of the old things in the photo, the disjunction between the trans- parency of the person and the stoppage linked to our inspection of the effects and remains of the past object-­world.21 The grand- mother’s crinoline and the chignon become the things...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 131–159.
Published: 01 May 2010
...). Scopophilia is not a relation of potency and sovereignty but rather an essential misrecognition or missed encounter. 140  •  Camera Obscura It is the lack of visibility of the object, the opacity of the revolutions of the gaze itself, that is the generative engine of scopo- philia. We can now...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1996) 13 (2 (38)): 92–115.
Published: 01 May 1996
... inhabiting the seen, lending oneself to its lures and its rejections, its opacities and its disclosures. In an important sense, the mutual incorporation of subject and world implies that we don't just see with our eyes, but that our whole body is implicated in the double act of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 139–161.
Published: 01 September 1990
... attempt at “substitution” will fail. The soundtrack-the noises, the music, the whispering, but above all the offscreen voice-will permit things to be put back in order and will allow the reinscription of transparency into the opacity of the film text; it will reinject subjectivity and identity...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (1-2 (25-26)): 250–273.
Published: 01 September 1991
... identity, toward being an “I”; but a drive that oscillates between idealization and aggression-the “I want to be like” easily sliding into the murderous desire to replace. It is in this slide that Borch-Jacobsen detects a “primordial opacity” or non-identity that inscribes...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 65–91.
Published: 01 May 2016
... exchanges. However, Her goes beyond Hoffmann’s paradigm of machinic intimacy, insisting on the radical difference of the machine, its incommensurability, and its opacity in that it consti- tutes its own world to which a human can relate only tangentially, if at all. Importantly, it is Samantha...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2003) 18 (3 (54)): 131–175.
Published: 01 December 2003
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2006) 21 (3 (63)): 63–101.
Published: 01 December 2006
... their environments and ends by bracketing the environments of meaning-processing systems altogether because of their opacity.26 Rendering the distinction between meaning-processing systems and physical or organic systems as absolute (rather than subject to the contingencies that render other...