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When Death Parties, Everyone Shows up Dressed as a Skeleton

from Violent Violins Exposed by Babak Ahteshamipour

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"When Death Parties, Everyone Shows up Dressed as a Skeleton" features a video clip which its first section is composed of hyper-processed footage from the Transformers (2004) PS2 video game while the latter unfolds within a 3D animated eerie alien landscape with a hovering spaceship and a grotesque necromantic portal installed in the middle. The 3D scenes revolve around two anime inspired characters with corpse painted faces based on two characters from the Xenoblade Chronicles series, Pyra & Mythra. Positioned strategically – one within the spaceship and the other in front of the portal embedded in the terrain – both characters stand ready for battle.

The video is poignant nod towards the technocratic appropriation and distortion of cyborgs and machines to serve violent ends — like the anthropocentric militarized depiction of the Transformers. The cyborg is a hybrid cybernetic organism, part mechanism, part organism, that blurs the boundaries between the organic vs artificial and the unfathomable vs conceivable, a two-sided ritual from which an undead manifests. It is an assemblage of identities that challenges essentialist, authoritarian and dogmatic agendas and creates paths for the emergence of the multitude. The cyborg is a transgressing figure that underlines the intricate relationship between the machine and the organic, shattering technological binarisms such as technophobia and technophilia; it perceives technology as integral to identity and experience. Furthermore the cyborg transfers the unfathomable into the conceivable by integrating the immaterial into its physicality.

The appropriation of violence through cybernetic bodies and the playful depiction of war is also evident in Otaku culture, as exemplified by Neon Genesis Evangelion, Gundam and Macross. Militarism and violence have been embodied within the Otaku identity. This gore embodiment is grotesquely depicted in Xenoblade Chronicles as well, a combat based video game series. An extension of this embodiment is the recruitment of e-girls and cosplayers by military forces, utilizing kawaii anime lores to promote warfare on social media. Their objective is to post hypersexualized thirst traps by impersonating anime characters with weapons and military equipment, targeting and brain-washing male candidates into the army. This online UwU-ification of arms forces is where it collides with the cyborg in reverse: it transfers the physical into the immaterial by transferring real-life warfare into an online hyperaesthetic subculture, albeit in perverted and commodified ways. This digtial-to-physical or physical-to-digital movement of warfare becomes a never-ending cycle highlighted by perverse examples such the Catboy Ukrainian soldier with the call sign "Burger" and the gamified/computerized consumption of real-time war through media.

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from Violent Violins Exposed, released April 3, 2024

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Babak Ahteshamipour Athens, Greece

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