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wdhmbt · 3 years

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Waihopai, INFOSEC, Information Security, Information Warfare, IW, IS, Priavacy, Information Terrorism, Terrorism Defensive Information, Defense Information Warfare, Offensive Information, Offensive Information Warfare, National Information Infrastructure, InfoSec, Reno, Compsec, Computer Terrorism, Firewalls, Secure Internet Connections, ISS, Passwords, DefCon V, Hackers, Encryption, Espionage, USDOJ, NSA, CIA, S/Key, SSL, FBI, Secert Service, USSS, Defcon, Military, White House, Undercover, NCCS, Mayfly, PGP, PEM, RSA, Perl-RSA, MSNBC, bet, AOL, AOL TOS, CIS, CBOT, AIMSX, STARLAN, 3B2, BITNET, COSMOS, DATTA, E911, FCIC, HTCIA, IACIS, UT/RUS, JANET, JICC, ReMOB, LEETAC, UTU, VNET, BRLO, BZ, CANSLO, CBNRC, CIDA, JAVA, Active X, Compsec 97, LLC, DERA, Mavricks, Meta-hackers, ^?, Steve Case, Tools, Telex, Military Intelligence, Scully, Flame, Infowar, Bubba, Freeh, Archives, Sundevil, jack, Investigation, ISACA, NCSA, spook words, Verisign, Secure, ASIO, Lebed, ICE, NRO, Lexis-Nexis, NSCT, SCIF, FLiR, Lacrosse, Flashbangs, HRT, DIA, USCOI, CID, BOP, FINCEN, FLETC, NIJ, ACC, AFSPC, BMDO, NAVWAN, NRL, RL, NAVWCWPNS, NSWC, USAFA, AHPCRC, ARPA, LABLINK, USACIL, USCG, NRC, ~, CDC, DOE, FMS, HPCC, NTIS, SEL, USCODE, CISE, SIRC, CIM, ISN, DJC, SGC, UNCPCJ, CFC, DREO, CDA, DRA, SHAPE, SACLANT, BECCA, DCJFTF, HALO, HAHO, FKS, 868, GCHQ, DITSA, SORT, AMEMB, NSG, HIC, EDI, SAS, SBS, UDT, GOE, DOE, GEO, Masuda, Forte, AT, GIGN, Exon Shell, CQB, CONUS, CTU, RCMP, GRU, SASR, GSG-9, 22nd SAS, GEOS, EADA, BBE, STEP, Echelon, Dictionary, MD2, MD4, MDA, MYK, 747,777, 767, MI5, 737, MI6, 757, Kh-11, Shayet-13, SADMS, Spetznaz, Recce, 707, CIO, NOCS, Halcon, Duress, RAID, Psyops, grom, D-11, SERT, VIP, ARC, S.E.T. Team, MP5k, DREC, DEVGRP, DF, DSD, FDM, GRU, LRTS, SIGDEV, NACSI, PSAC, PTT, RFI, SIGDASYS, TDM. SUKLO, SUSLO, TELINT, TEXTA. ELF, LF, MF, VHF, UHF, SHF, SASP, WANK, Colonel, domestic disruption, smuggle, 15kg, nitrate, Pretoria, M-14, enigma, Bletchley Park, Clandestine, nkvd, argus, afsatcom, CQB, NVD, Counter Terrorism Security, Rapid Reaction, Corporate Security, Police, sniper, PPS, ASIS, ASLET, TSCM, Security Consulting, High Security, Security Evaluation, Electronic Surveillance, MI-17, Counterterrorism, spies, eavesdropping, debugging, interception, COCOT, rhost, rhosts, SETA, Amherst, Broadside, Capricorn, Gamma, Gorizont, Guppy, Ionosphere, Mole, Keyhole, Kilderkin, Artichoke, Badger, Cornflower, Daisy, Egret, Iris, Hollyhock, Jasmine, Juile, Vinnell, B.D.M.,Sphinx, Stephanie, Reflection, Spoke, Talent, Trump, FX, FXR, IMF, POCSAG, Covert Video, Intiso, r00t, lock picking, Beyond Hope, csystems, passwd, 2600 Magazine, Competitor, EO, Chan, Alouette,executive, Event Security, Mace, Cap-Stun, stakeout, ninja, ASIS, ISA, EOD, Oscor, Merlin, NTT, SL-1, Rolm, TIE, Tie-fighter, PBX, SLI, NTT, MSCJ, MIT, 69, RIT, Time, MSEE, Cable & Wireless, CSE, Embassy, ETA, Porno, Fax, finks, Fax encryption, white noise, pink noise, CRA, M.P.R.I., top secret, Mossberg, 50BMG, Macintosh Security, Macintosh Internet Security, Macintosh Firewalls, Unix Security, VIP Protection, SIG, sweep, Medco, TRD, TDR, sweeping, TELINT, Audiotel, Harvard, 1080H, SWS, Asset, Satellite imagery, force, Cypherpunks, Coderpunks, TRW, remailers, replay, redheads, RX-7, explicit, FLAME, Pornstars, AVN, Playboy, Anonymous, Sex, chaining, codes, Nuclear, 20, subversives, SLIP, toad, fish, data havens, unix, c, a, b, d, the, Elvis, quiche, DES, 1*, NATIA, NATOA, sneakers, counterintelligence, industrial espionage, PI, TSCI, industrial intelligence, H.N.P., Juiliett Class Submarine, Locks, loch, Ingram Mac-10, sigvoice, ssa, E.O.D., SEMTEX, penrep, racal, OTP, OSS, Blowpipe, CCS, GSA, Kilo Class, squib, primacord, RSP, Becker, Nerd, fangs, Austin, Comirex, GPMG, Speakeasy, humint, GEODSS, SORO, M5, ANC, zone, SBI, DSS, S.A.I.C., Minox, Keyhole, SAR, Rand Corporation, Wackenhutt, EO, Wackendude, mol, Hillal, GGL, CTU, botux, Virii, CCC, Blacklisted 411, Internet Underground, XS4ALL, Retinal Fetish, Fetish, Yobie, CTP, CATO, Phon-e, Chicago Posse, l0ck, spook keywords

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thisweekingundamwing · 3 years

Text

This Week in Gundam Wing 6-12 June 2021

Here’s this week’s roundup! June 6th -12th!

Remember to give your content creators some love! Be sure to join in on the events at the bottom! And remember to send in any new works you see or make next week!

~Mod Hel (Sorry this is so late all!)

Fanfiction/Snippets/AU Ideas:

@destinysblackrose

Losing my Breath https://destinysblackrose.tumblr.com/post/653297355731435520/fic-losing-my-breath-gundam-wing-heero-x

F/M, Heero Yuy/Relena Darlian

Rated M for mature. Contains smut and angst.

Before his ‘reconnaissance mission’, Heero had been coaxing her, week after week. Waiting for her to become comfortable with this aspect of their relationship. Their last 'exchange’ gave him hope that maybe, they were getting closer.

The patience of a sniper. He used to hate it. Waiting. Watching. Aching. Breathing. Boring.

At least nothing about waiting for Relena was dull.

@lemontrash

Pride Day 5 https://lemontrash.tumblr.com/post/653269838365638656/pride-day-5

5 It Used to be a Different Game - 1x5 SFW - UST.

After a war and a rocky experience with ambivalent heterosexuality, Wufei is not entirely sure what to make of this situation.

@noirangetrois

Gundam Wing Diaries https://noirangetrois.tumblr.com/post/653438898421284864/the-gundam-wing-diaries

May 8, 2000 (Monday)

Episode 46 - “Milliardo’s Decision”

May 9, 2000 (Tuesday)

Episode 47 - “Collision in Space”

Gundam Wing Diaries https://noirangetrois.tumblr.com/post/653714468147265536/the-gundam-wing-diaries

May 10, 2000 (Wednesday)

Episode 48 - “Takeoff into Confusion”

May 11, 2000 (Thursday)

Episode 49 - “The Final Victor”

Of the Sea (Ch. 11) https://noirangetrois.tumblr.com/post/653792472043077632/of-the-sea-chapter-11-archive-of

M/M, Duo Maxwell/Heero Yuy

Mature, No Archive Warnings Apply, fairytale my way, Meroctopus!Dorothy, Slow Burn, Multi POV, POV Third Person Limited, merman au, MerMay, Fantasy Politics, mentions of abuse, Unnatural November

Heero Yuy will soon be reaching the age of majority, at which time he will ascend the throne of Wingaria. Before such time, he must needs choose a bride. But what if there are no good choices? What if someone else has captured his heart?

simulacraryn

Friday, I’m in Love https://archiveofourown.org/works/31705282/chapters/78469714

F/M, Gen, Zechs Merquise/Lucrezia Noin

Teen And Up Audiences, No Archive Warnings Apply, Hangover, Alcohol Mentions, Explicit Language, Established Relationship, Alternate Universe - College/University, 1995 college au, khushrenada family has more issues than a magazine, background Treize being a gremlin, unbetaed - we die like men here

[College AU, 1995] Zechs is well aware of the upcoming social obligations that come with being friends and sharing a home with a "snob". The issue is when said friendship is actually cramping his own style, then it's time to enlist his girlfriend in order to help the friend find a better coping mechanism for the upcoming activities.

@thaiteaaddict

Reincarnated As A Minor Villiainess and I Survived Past My Death Scene (Ch. 28) https://thaiteaaddict.tumblr.com/post/653740109010747392/i-reincarnated-as-a-minor-villainess-and-i

M/M, F/F, F/M, Heero x Duo, Trowa x Quatre, Wufei x Meilan, Dorothy x Relena

Full cast

Teen, AU - Fantasy, AU - Isekai, POV First Person, Unreliable Narrator

After being killed in a traffic accident, Duo wakes up in a medieval fantasy novel - except he’s woken up as one of the novel’s minor villains who was supposed to have died in a main character’s backstory. Intent on righting the wrongs of his novel counterpart, Duo sets out to change his fate and just maybe improve the relationship between himself and his estranged husband, Duke Heero Yuy. (Duo is isekai’d into the body of a novel’s villainess character and runs with it.)

@zaganthi

Catered https://zaganthi.tumblr.com/post/653846550482665472/catered-zaganthi-caffiends-tzigane-gundam

M/M, Chang Wufei/Quatre Raberba Winner

Teen And Up Audiences, No Archive Warnings Apply, Blindfolds; Demisexuality; Dinner; First Kiss; Hand Feeding, GW Pride 2k21 – Day 13, Blindfolds; Day 17, foodplay

“I would like you to do a blind taste test.” Quatre sat down across from him on the cushion, smiling that serene little smile that he only used when he was up to something. He’d done stranger things. That smile made him a little paranoid, though. Anyone with the least bit of sense would be paranoid when Quatre looked like that.

“All right.”

“Thank you.” Wufei could see the smile, but he could also hear it in Quatre’s voice as he moved behind him.

Gnossienne https://zaganthi.tumblr.com/post/653752431378890752/gnossienne-zaganthi-caffiends-perryvic

M/M, Duo Maxwell/Quatre Raberba Winner; Treize Khushrenada/Duo Maxwell; Treize Khushrenada/Quatre Raberba Winner; Trowa Barton/Chang Wufei

Explicit, No Archive Warnings Apply, Aged-Up Character(s) Quatre Raberba’s Uchuu no Kokoro | Space Heart; Preventers (Gundam Wing); Team as Family; Domestic Bliss; Friendship; Friendship/Love; talking with exes; Double Penetration; rompy sex; Aftermath of Violence; Mind Control Aftermath & Recovery; Awareness of the trouser legs of time; Talking about Therapy; Dinner Party; Swordfighting; Enthusiastic Consent

It was as if his words constituted permission because Quatre’s smile was blinding then as was his emotional reaction - figuratively and literally because he damn well started glowing as he said in a reverent whisper “Sandrock,…”

His Gundam impossibly powered up there and then right in front of them even as Quatre literally ran towards it. This time around he really got it, he could feel Sandrock as Quatre felt him - and it was a him strangely. Just as he felt that Deathscythe was more than just metal and technology, Sandrock had a presence. How, he didn’t know but it was like seeing him reunite with a beloved family member.

Fanart/Crafts/Photo Manips:

@alphaikaros

https://alphaikaros.tumblr.com/post/653299730884050944/late-mermay-post

Dorothy/Quatre, fanart

https://alphaikaros.tumblr.com/post/653860625645256704

Relena/Heero, fanart

@anukisart

https://anukisart.tumblr.com/post/653291417640304640/first-anime-crush-right-here

Heero Yuy, fanart

@babygray-dam

https://babygray-dam.tumblr.com/post/653427876479303680/a-sketch-of-duo-maxwell

Duo Maxwell, fanart

@cloakandfire

https://cloakandfire.tumblr.com/post/653518473738305536/milliardo-peacecraft-lucrezia-neuenheim-noin

Millidardo Peacecraft/Zechs Merquise, fanart

@duointherain

https://duointherain.tumblr.com/post/653647734686072832/a-new-duo-render-from-violet-in-tooth-and-claw-i

Duo Maxwell, render

@gundayum

https://gundayum.tumblr.com/post/653389873532796928/im-just-gonna-copypasta-from-ao3-lmao-sorry

Relena & Heero, fanart

@idrawprettyboys

https://idrawprettyboys.tumblr.com/post/653393436572106753/duo-in-a-crop-top

Duo Maxwell, fanart

@twillpoint

https://twillpoint.tumblr.com/post/653752343129636864/until-next-time-afternoon-tea-booth

Duo/Quatre, fanbook

Photosets/Gifsets/Screenshots/Manga Pages:

@cuteciboulette

https://cuteciboulette.tumblr.com/post/653254092113723392/doujinshika-sango-show

Destiny, doujinshi

https://cuteciboulette.tumblr.com/post/653344695287775232

Duo & Heero Book, doujinshi

https://cuteciboulette.tumblr.com/post/653707101846306816/cuteciboulette-tsuki-no-kodomo-vol-3-full

Act 3, doujinshi

Head Canons:

@bryony-rebb

https://noirangetrois.tumblr.com/post/653352279647371264/lemontrash-bryony-rebb-bryony-rebb

Trowa & Cathy, headcanon

@lemontrash

Quotes:

@incorrectgundamwingquotes

https://incorrectgundamwingquotes.tumblr.com/post/653552300665782272/duo-kinda-gay-to-make-a-wanted-poster-duo-why-do

Duo & Heero

https://incorrectgundamwingquotes.tumblr.com/post/653642909168631808/duo-im-hella-fucking-tired-but-i-need-to-go-to

Duo & Quatre

Calendar Events:

@gundamzine

Rhythm Generation 2021

Meet the Mods: https://gundamzine.tumblr.com/post/636708854145613824/come-on-over-a-meet-your-2021-zine-mod-team-head

Check out the blog for the Zine schedule!

@gundam-wing-pride

Gundam Wing Pride 2k21 https://gundam-wing-pride.tumblr.com/post/648237909672083456/incoming-transmission-faq

A Beautiful Rainbow of Prompts https://gundam-wing-pride.tumblr.com/post/649898271517573120/a-beautiful-rainbow-of-prompts

@gwcocktailfriday

Cocktail Fridays!

Post responses on Friday, during Happy Hour between 3 & 5 pm in your own timezone.

Here’s the prompt for Friday, ! [starting back up next week!]

In need of Summer/Fall(Autumn) prompts!

@gwshootingstars

Shooting Stars Online Convention https://gwshootingstars.tumblr.com/post/653339481502564352/hey-everyone-guess-whos-back-with-a-brand-new

This has been tabled for future action.

https://gwshootingstars.tumblr.com/post/653641678082752512/hi-all-thank-you-so-much-for-the-response-and

Latest news.

@oztober-rust

Welcome to Oztober Rust

We’re an up and coming Gundam Wing event with a slight twist! This page is still a work in progress, but you’re welcome to join us over on discord and get a feel for the event.

Have discord, will fan. https://oztober-rust.tumblr.com/post/647568110262566912/i-see-a-nice-and-steady-following-we-do-have-a

@seasons-of-gundamwing

Summer Event Prompts Needed https://seasons-of-gundamwing.tumblr.com/post/652830126852177920/alright-folks

@thisweekingundamevents

Events Calendar https://thisweekingundamevents.tumblr.com/post/644080386309275648/events-calendar-update

If you are hosting an event currently, or are planning on one, hit us up with links and dates! We’ll add them to the Calendar and reblog your notices to get the word out!

#Gundam Wing #This Week in Gundam Wing #Weekly Roundup #6-12 June 2021

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flashlighto · 5 years

Text

The format of Hito Steyerl’s Lovely Andrea (29’43”, 2007), a short film commissioned for Documenta 12, ostensibly falls under the umbrella of the essay documentary genre. In that space, the work indeed documents an interview-based research process from the perspective of a tangible and bodied subjectivity, but it is perhaps better playfully described by one of its interview subjects, the editor of Sanwa Erotica, Matsumoto Yutaka, upon hearing the basic premise: “That’s a nice mystery novel. It’s mysterious, it sounds good.” In the film, Steyerl introduces her search for a published photo series of herself as a Shibari bondage S/M model taken in 1987 while studying as a film student in Tokyo. This central goal drives her research forward, but despite that apparent clarity and objective-based approach, the film both begins and ends with her as interview subject being asked “What is your film about?” The audience is repeatedly prodded to answer this question, arriving at a place that considers the broader paradigms of global power (reference appendix images A, B), through which bondage pornography might merely reveal some libidinal echoes of an underlying ideological infrastructure that bleeds out into global deployments of Imperialist Capitalism.

Steyerl’s archived images are the subject of the search, but the film’s central figure is Asagi Ageha, Steyerl’s translator as the search moves from Germany to Japan and also a bondage performer with her performance partner, Osada Steve. Steyerl and Asagi follow a trail from fetish studio to fetish studio, connecting the dots between a seemingly small community of male ropemasters that were active in S/M publishing in the 80s, they slowly narrow down the possibilities of the photographer and magazine in which it might have appeared. In a twist on the typical role of “translator as invisible intermediary,” their search is repeatedly put on hold as Asagi is directly addressed by members of the studio. A studio assistant at their first destination, Sanwa Erotica, asks, “Aren’t you a model, Ageha?” The ropemaster offers, “If you want a bondage picture of yourself, I will tie you up.” Asagi replies, “It’s maybe a good idea!” as the whole studio laughs. The film breaks into a montage of Asagi taking her shirt off and being bound by the ropemaster.

In the midst of the search, various editors describe the psychological space of S/M as it functions for both performer and studio. From one editor, Japanese S/M is described as being based on submissiveness, on offering the performer an opportunity to experience shame. Another German editor explains that some of his performers would tell you that they like to see rope marks on their skin, while others would say they enjoy the feeling of floating as they are suspended above the ground, “Only when being roped I feel free.” This sentiment seems to be a motif in BDSM, and parallels a line from Pauline Reage’s 1954 Story of O, “The chains and the silence, which should have bound her deep within herself, which should have smothered her, strangled her, on the contrary freed her from herself.“

Within these descriptions, Ropemaster Nureki Chimuo explains the relationship of these studios to the Japanese legislature while voicing over a photoshoot of a woman with her arms tied behind her back in chic business woman garb, “Back then there were lots of restrictions… It was best when [the police] were extremely bothersome.” Nureki explains that they ought to operate as if they always have these same restrictions but never quite clarifies if this is because those conditions forced the studios to be more creative in their operations, or if it was the illicit nature of the media that increased their audience’s desire for the media. Something to note here: through the description of the studio’s relationship with the state, the audience finds the studio manager describing a power dynamic that becomes a direct projection of the internal dynamic that is roleplayed in front of the camera lens. In this echoed restriction, the studios enjoy being dominated by the police. Through that description, a fractal structure of power is constructed, submission echos from the micro to the macro with an implication of recursiveness ad infinitum. Within that structure, as Nureki says, “The more restrictions the better.” (Reference appendix image C).

This theoretical fractal structure is reinforced with a series of playful associative video transitions that imply a much broader presence of explicit and implicit domination in a global setting. Inclusions of Depeche Mode’s 1984 single Master and Servant (one of many ‘70s and ‘80s punk and pop singles that populate Lovely Andrea’s soundtrack) leads to a chorus with corresponding title cards that exclaim, Let’s play master and servant; it’s a lot like life! This simple libidinal request becomes a central theme that is rearticulated throughout the film. In conversation, Asagi asks Ropemaster Osada to clarify a point about S/M, “You mean in a normal society, everything is bondage?” Osada responds by describing the web that he imagines connecting and binding everyone in “society” before the audience returns to transitions between footage from the 1960s animated Spiderman and the 2002 live-action Spiderman with scenes which depict broad webs stretching between buildings and collecting various vehicles and people. With repeated insertions of pop media as soundtrack and transition, there is an implication that pop media of this sort may also be a function of domination in a global setting.

There are multiple threads that emerge at this point in the theoretical structure that Steyerl develops. With the inclusion of imagery from the 2002 Spiderman (reference appendix image E), she briefly sketches out a connection across forms of censorship, jumping between the censorship of bondage imagery in 1987 Japan and the censorship of Spiderman promotional images in 2001 that depicted a web capturing a helicopter between the Twin Towers in Manhattan. Between these images, is it just the visible knotting and harnessing that becomes illicit here? That visible knotting might remind the public of the quotidian power dynamics in which they play a part? With tongue planted firmly in cheek, it becomes unclear if censorship is caused by the visible inclusion of the web in both of these images, or, more likely, a distinctly moralist protection from pornography and a separate statist repression of imagery that reminds a public of a global political landscape.

When Steyerl and Asagi ultimately locate the images of Steyerl in the Fuzoku Shiryokan Sex Archive and are able to arrange a meeting with the photographer, Tanaka Kinichi, a description of the industry in the ‘80s complicates the research up that point. Tanaka notes the number of women that were lied to about the kind of shoot that would be happening and how in some cases, they wound up being paid in freedom rather than in the agreed upon sum of money. In this moment in which roleplay and real power blurs, a collapse occurs in the theoretical space that has been developed when a variety of scenes depicting Abu Ghraib bound victims, Guantanamo Bay prisoners, Terror Advisory Charts, and Spiderman are inserted into a monitor in the scene (reference appendix images A, F, G). At this point, Asagi clarifies to an interview subject that the name in “Lovely Andrea” that Steyerl used in 1987 was borrowed from her friend Andrea Wolf, who would later join the Kurdistan Workers’ Party (PKK) and, labeled a terrorist, be murdered by the Turkish State. (Reference appendix image D).

In adopting Andrea’s name, the photoset in the 1987 issue of S/M Sniper travels and disseminates in a manner not so different from the way Andrea Wolf’s actual image was reproduced and consecrated by fellow PKK insurgents after her death. Some differences: the 1987 image of “Andrea” shows a bound, stripped woman, wrists tied together, bent over, with large, male hands directing her posture, printed in glossy color on cheap paper, bound between covers, while the image of Andrea in Turkey after her death features a soft, kind face looking away from the camera’s gaze contentedly, and is printed in cheap black and white and is surrounded by a green laurel. The ambiguous relationship between these two image-based “Andreas” raises a question: What exactly is the relationship between the images of the martyr Andrea and the images of the sex object “Andrea?” Thinking through the lives of images, do they coexist primarily through their distinction from the real lives of the two subjects that are imaged? Where the life of the martyr Andrea becomes completely isolated from her experience as an insurgent, and similarly for “Andrea,” the “sex slave”? Alternatively, does 1987 “Andrea” function more purely as an icon for life in a neoliberal global landscape derived from the effects of colonialism? Perhaps the term “roleplay” becomes key for thinking through the power dynamics inherent in that global landscape.

In one of the final scenes, Asagi explains that she no longer performs as a typical bondage model, but rather as a “self-suspension performer” (reference appendix image H). This shift in terminology places Osada Steve in the assistant role as she binds her body and suspends herself through the use of a rope and pulley system. The distinction does not eliminate the role of being bound nor does it eliminate the imagery of bound bodies, but rather locates agency within that role. A montage of her performance plays as title cards alternate --- “WORK IS BONDAGE”/”BONDAGE IS WORK” --- and music plays as found footage of women working in a restaurant cuts in and out.

Strangely, it is in moments of such explicit attribution of meaning that make the inclusion of topics with ambiguous or multiple dimensions of relevance so generative in Lovely Andrea. With the ideological origins of the PKK in Marxism-Leninism, a reading of this associative collage through the filter of labor gestures towards Imperialist-Capitalist extraction of capital as ubiquitous bondage, a metaphor that becomes concretized when applied to the police tactics that strip bare the pop-culture surface of such systems.

But in returning to the repeated question pointed at Steyerl, “What is your film about?”, one final moment illuminates Steyerl’s sensibility of a feminist read. Noticing her image on the monitor, Steyerl exclaims, “I should get some Botox, I think.” Immediately, she is asked, “But you consider yourself a feminist?”, to which she responds, “Yes, definitely.” In this brief exchange, Steyerl foregrounds her own libidinal objectives and autonomy over self. In a familiar feminist read, the existence of cosmetic surgery as iconic symptom of feminine bondage to feminine body idealization is a problem, but her exclamation reads as sympathetic towards bondage and clarifies the ways in which that desire is not mutually exclusive with feminism. An adjacent text of Steyerl’s illuminates this thinking beyond the broad understanding of her and Asagi’s own autonomies, “The feminist movement, until quite recently (and for a number of reasons), worked toward claiming autonomy and full subjecthood. But as the struggle to become a subject became mired in its own contradictions, a different possibility emerged. How about siding with the object for a change? Why not affirm it? Why not be a thing? An object without a subject? A thing among other things?” The implications of such a claim towards an objecthood without subjecthood interfaces with Asagi’s notion of self-suspension neatly, but this also remains fairly theoretical in the way that her interest in Botox is not.

Katherine Behar addresses a similar question in her collection of texts, Object-Oriented Feminism, as she navigates the issue of the body-self-object in service of navigating a sound non-anthropocentric philosophy. In this work, implicating the self as object is sought in order to escape the anthropocentrist approach, which she describes as a liability in a variety of arenas, “[from] the ecological to the epistemological to the ethical.” Identifying the problem of animism in some supposedly non-anthropocentric philosophies as vivophilia, she advocates for necrophilia,

“It is a question of perspective. Vivophilia says that most things in the world are, in some significant way, as alive as I am. Necrophilia says that I am, in some significant way, as dead as are most things in the world.”

Behar identifies this (very specific) notion of necrophilia as the generative central tenet of the feminist body-art that has developed since the 1960s. “Denouncing the fetishization of lively integrity in body objects, body art foregrounds the self not only as a deadly object to be killed off but also as the scene of the crime.” In this dialogue, Behar claims administration of Botox as an ideal method for achieving that objective on a more quotidian timeline, through the use of the same toxin found in botulism, OnabotulinumtoxinA, via direct injection.

Within this space, there is better ground for understanding how the more overt elements of this film (the unethical practices of the Japanese black market porn industry in the ‘80s vs. Asagi’s agency in self-suspension) fit with the more opaque elements (the relationship between Andrea and “Andrea” as images, the role of censorship, the question of global power, how to reckon Botox ethics). The repetition of the line “What is your movie about?” remains useful because it gestures towards the simultaneity of mutual dependence that these threads rely upon for support.

In architecture, a “reciprocal frame” is a class of self-supporting structure made of three or more beams which requires no center support to support roofs, bridges or similar structures (reference appendix image I). This model of the reciprocal frame provides a useful illustration for the way in which Steyerl’s threads seem to support each other: leaning on each other in a sort of pinwheel formation, without need for a central column to support the resulting structure. In that model as illustration, Steyerl and her relationship with Andrea becomes the absent center support; instead, the audience encounters Asagi as surrogate for a younger Steyerl, the images of Steyerl that circulated throughout Japan, the images of the real Andrea that circulated throughout Turkey, the censorship that occurs under any state government, the real tactics of domination that state governments impose on their citizens and on other countries, and the roleplay of sexualized objects. If an audience pulls out the threads of Steyerl’s criticality, bondage functions as a useful distillation of much broader power dynamics. Despite this analysis of “bondage as theatre”/”bondage as business”/”work as bondage”, the brief reference to/absence of Andrea Wolf’s relationship to Steyerl and her images reveals that this work is founded in sentiment and a self-reflexive gaze in spite of such an ostensibly goal-oriented, critically-minded approach.

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