This essay attempts to disable the “ruinous” logic that has fueled recent slut-shaming on Web 2.0 by making visible the ways in which our machines are promiscuous—routinely “leaking.” The authors present the leak as a habit so as to disrupt the illusion of privacy and sealed subjectivity that enables the possibility of being a “victim” of slut-shaming, revenge porn, and similar dangers of Web 2.0. They argue that blaming the user for leaks only detracts from the systematic vulnerabilities of Web 2.0. The essay looks at the pernicious practice of “ruining” young, white, female subjects through the circulation of naked or sexual images of them. This habit not only exemplifies the linking of subjectivity, privacy, and whiteness but also the way in which the online subject is figured as open, vulnerable, and perhaps asking for it—that is, traditionally female. The essay argues that rather than call for bubbles of privacy that seal off online subjects, as if to prevent their leaking or sluttiness, the inherent promiscuity of new media must be embraced.

This essay investigates the role of gestures in the production of film genre. These repeated moves-generic gestures-operate in and signify mythologies that produce film genre. This paper seeks to animate theories of the gesture while theorizing film genre as a choreography that is performed across film texts and bodies. It moves the notion of the genre "corpus" towards a mobile concept that privileges the gestural exchanges occurring between bodies of actors, of viewers, and of films.

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have been in dialogue since they met at the "moving.media@brown" conference in 2016, where they realized that both share an ongoing interest in patterns of movement and their connection with larger cultural formations. As Sarah Friedland and I were working on the development of the exhibition Assembled Choreographies at the Hartnett Gallery (March 29 through April 26, 2021), and thinking about its translation to an online environment, we decided to include a consolidated version of her conversations with Takahashi.The exhibition centered on the visual language of movement, the typology of the crowd, and the process of how bodies learn from each other. It included a virtual installation of CROWDS (2019) and a screening of Drills (2020) and Home Exercises (2017). CROWDS' digital interface was designed by Friedland in collaboration with media artist and designer Jonas Eltes, translating the 3-channel installation for an online audience. The CROWDS website opened with "A Score for Distant Viewing" that acknowledged the embodiment of mediated viewing, and closed with "Murmurations," whose original zigzag format is mimicked here.The discussion focuses on the choreography of the crowd and its visualization. Friedland discusses her production and research process for her three-channel installation CROWDS, in connection with Takahashi's