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Table of Contents<\/a> | Article doi: 10.17742\/IMAGE.IN.11.2.10 | PDF<\/a><\/p>\n
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The Antibody Politic<\/span> Alison Humphrey<\/span><\/p>\n
Imagining Co-Immunity in Shadowpox: The Antibody Politic<\/em><\/h1>\n
Alison Humphrey<\/p>\n
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Shadowpox: The Antibody Politic<\/em> is a game-based interactive installation that renders visible the forces our immunization decisions exert not just on our personal health but on the health of others. Part fact, part science fantasy, this full-body video game combines real-world statistical data with motion-tracking, live-animated digital effects to imagine a vaccine-preventable disease composed of viral shadows. The author explains how her initial design choices were rooted in a widespread misunderstanding: that our vaccination decisions have purely individual and private consequences. Once she became aware of her own blind spot, the game\u2019s design, and the wider Shadowpox<\/em> science fiction storyworld of which it was a part, came into focus, framing community immunity as a metaphor for the power we each have to make choices that will have a destructive or constructive effect on the world around us.<\/p>\n<\/div>\n
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Shadowpox: The Antibody Politic<\/em> est une installation interactive bas\u00e9e sur un jeu qui rend visible les forces que nos d\u00e9cisions de vaccination exercent non seulement sur notre sant\u00e9 personnelle, mais sur la sant\u00e9 des autres. Moiti\u00e9 r\u00e9alit\u00e9, moiti\u00e9 fantaisie scientifique, ce jeu vid\u00e9o sur tout le corps combine des donn\u00e9es statistiques du monde r\u00e9el avec des effets num\u00e9riques anim\u00e9s de suivi de mouvement pour imaginer une maladie \u00e9vitable par la vaccination compos\u00e9e d’ombres virales. L’auteur explique comment ses choix de conception initiaux \u00e9taient enracin\u00e9s dans un malentendu g\u00e9n\u00e9ralis\u00e9: l’id\u00e9e que nos d\u00e9cisions de vaccination ont des cons\u00e9quences purement individuelles et priv\u00e9es. Une fois qu’elle a pris conscience de son propre angle mort, la conception du jeu et le monde de la science-fiction Shadowpox plus large dont il faisait partie ont \u00e9t\u00e9 mis au point, montrant l’immunit\u00e9 communautaire comme une m\u00e9taphore du pouvoir que nous avons chacun de faire des choix qui auront un effet destructeur ou constructif sur le monde qui nous entoure.<\/p>\n<\/div>\n<\/div>\n<\/header>\n
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\u201c\u2026 imagine the action of a vaccine not just in terms of how it affects a single body, but also in terms of how it affects the collective body of a community\u2026\u201d
\n\u2014Eula Biss, On Immunity: An Inoculation<\/em><\/p>\n
\u201cIf the semiotic axis around which every social institution is constituted lies in the boundary between self and other\u2014between us and them\u2014what constitutes both its interpretive key and effective outcome better than the principle of immunity?\u201d
\n\u2014Roberto Esposito, Immunitas: The Protection and Negation of Life<\/em><\/p>\n<\/div>\n
A<\/span> virus is invisible. While Robert Koch published the first light-microscope drawings and photographs of bacteria in 1877, viruses\u2014over 100 times smaller than bacteria\u2014were not visualized until the 1930s advent of the electron microscope. Nor can we see immunity to a virus, except as abstract absence: I\u2019ll never know that my October flu shot saved me a week of misery in March. I bear no sign to others that I\u2019ve even chosen to be vaccinated, in contrast to bygone days when smallpox inoculation left a distinctive scar (Figure 1) that served as a domestic passport in times of quarantine (Bliss 20), a \u201cgovernment-certified ticket of immunity [\u2026] stamped indelibly on the body [\u2026] a well-defined sign [that] cannot be forged\u201d (Willrich 227).<\/p>\n
$\"\"$ Figure 1: Foldout colour plate showing vaccination scars. Wellcome Collection., Attribution 4.0 International (CC BY 4.0). https:\/\/wellcomecollection.org\/works\/hyjxgxax<\/a><\/figcaption><\/figure>\n
But of all these invisibilities, perhaps the most significant is the impact that our own vaccination choices have on those around us. If I forego that flu shot, there\u2019s a vanishingly small chance\u2014but still a chance\u2014that I might catch the virus, pass it along unawares, and become indirectly responsible for a fatal illness in a nursing home, or for the death of a toddler (Howells). I will almost never see that my decision affected anyone other than myself.<\/p>\n
Gilles Deleuze argues that, \u201cIn art, and in painting as in music, it is not a matter of reproducing or inventing forms, but of capturing forces [\u2026] The task of painting is defined as the attempt to render visible forces that are not themselves visible\u201d (56). Shadowpox: The Antibody Politic<\/em> is a game-based interactive installation that renders visible the forces that our immunization decisions exert not just on our personal health but on the health of others. Part fact, part science fantasy, this full-body video game combines real-world statistical data with motion-tracking, live-animated digital effects to imagine a vaccine-preventable disease composed of viral shadows.<\/p>\n
The interactive \u201cshadowpox\u201d virus is projected not only on the digital avatar that mirrors the player\u2019s movements on-screen, but also on the player\u2019s own body, and on the members of the 100-strong animated population of which that avatar is a part. As the player fights the disease, moving their hands to expel the pox from their body, they discover that each handful of virus they shed has the potential to infect their 99 neighbours. The odds of infecting these animated sprites are based on real-life statistics, and the player\u2019s score mounts with each victim. The goal of this mixed-reality immersion is to intensify emotional and physical affect, and heighten the gallery visitor\u2019s sense of connection and consequence.<\/p>\n
At the end of the game, a coded web link leads players online to meet their unique \u201cInfection Collection\u201d or \u201cProtection Collection.\u201d Here, the abstract statistic of their score is translated into a series of 99 individual trading cards sporting quirky pictogram and text portraits. Under this macroscope, seemingly private choices are revealed to have public reverberations, while population-level health statistics are broken down into their component parts: five-score individual yet interconnected human stories. The affective arc of the game traces a connection from the personal to the political and back again.<\/p>\n
Shadowpox: The Antibody Politic<\/em> was created for <Immune Nations><\/em>, described on its website as \u201ca speculative exhibition about the constructive role that art can play in global political discourse around life-saving vaccines.\u201d I was a last-minute addition to the three-year interdisciplinary project at its inaugural workshop in August 2015, weeks before beginning my PhD at York University. It proved a serendipitous chance to collaborate on an incarnation of the science fiction storyworld Shadowpox<\/em>, the core of my research-creation dissertation, co-created with youth on three continents to mark the centenary of the 1918-19 influenza pandemic.<\/p>\n
As the first chapter in this wider Shadowpox<\/em> storyworld, The Antibody Politic<\/em> was created by a team including York University\u2019s Immersive Storytelling Lab director Caitlin Fisher and Global Strategy Lab director Steven Hoffman; technical director and creative coder Lalaine Ulit-Destajo; epidemiologist Susan Rogers Van Katwyk; and website programmer Sean Soll\u00e9.<\/p>\n
The first part of this essay describes the game as it was exhibited in Trondheim, Norway, in March 2017, and Geneva, Switzerland, in May 2017. The second part investigates the theory and development process behind it, particularly my own realization that my initial design choices reflected a common misunderstanding: that our vaccination decisions are purely individual and private. The process of designing the game led me to identify the purpose of the Shadowpox<\/em> storyworld: to expand our civic imagination. In the game as in the wider fiction, community immunity becomes a metaphor for the power we each have to make choices that will have a destructive or constructive effect on the people and the world around us.<\/p>\n
A Trivalent Vaccination Game<\/h2>\n
I<\/span>magine you are standing in the soaring, glass-walled lobby of the UNAIDS building in Geneva. Before you is a square, light-grey tent (the sunlight streaming through those soaring glass walls is not ideal for infrared tracking). Even before you step inside, you see rear-projected on the tent walls a punning, recombinant title animation that teases the three phases of the game (Figure 2).<\/p>\n
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<\/p>\n
<\/p>\n
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Figure 2: Alison Humphrey, Pox<\/em> On<\/em> Me, Pox<\/em> On<\/em> \u2019Em, Pox\u00e9mon<\/em>, 2017. Title animation stills. Image courtesy of the artist.<\/figcaption><\/figure>\n<\/div>\n
This is how you play:<\/p>\n
Phase 1: Pox on Me\u2014The Individual\u2019s Choice<\/h2>\n
In which fear and courage incarnate, as the pathogen is projected onto the player\u2019s own body.<\/em><\/p>\n
You enter the playing area and stand facing one screen, with your back to another. A Microsoft Kinect sensor above the front screen detects your movements, giving you control over a real-time animated avatar. Two opposing projectors shine this avatar onto the front screen, and in reverse, onto your own body (Figure 3).<\/p>\n
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Figure 3: Shadowpox<\/em> player at the <Immune Nations><\/em> exhibition opening, UNAIDS, 2017. Photo by Alison Humphrey.<\/figcaption><\/figure>\n
The Kinect bounces infrared light off the player, tracking the position of key skeleton joints (Figure 4). Technical director Lalaine Ulit-Destajo\u2019s 2000+ lines of openFrameworks code (Figure 5) draws circles and rectangles around those points to build a simple avatar (Figure 6). The avatar\u2019s gestures are recalculated 120 times per second, so fast that the player feels like they are looking at themselves in a black-and-white pictogram mirror (Figure 7).<\/p>\n
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Figure 4: Lalaine Ulit-Destajo, Maggie the Mannequin, and Alison Humphrey calibrating projector with Kinect skeleton tracking, 2016. Photo by Wesley Moir.<\/figcaption><\/figure>\n
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Figure 5: Coding in openFrameworks for real-time avatar animation, 2016. Photo by Lalaine Ulit-Destajo.<\/figcaption><\/figure>\n
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Figure 6: Half-finished pictogram avatar with torso and joints, 2016. Photo by Lalaine Ulit-Destajo.<\/figcaption><\/figure>\n
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Figure 7: Final pictogram avatar in action among 99 neighbours, 2017. Photo by Alison Humphrey.<\/figcaption><\/figure>\n
The visual language of the game is inspired by the design and spirit of ISOTYPE, the International System of Typographic Picture Education developed by Austrian sociologist Otto Neurath between the world wars. Vossoughian explains that ISOTYPE\u2019s elementary infographic language (Figs. 8a, 8b) was designed to \u201cmake statistical data legible and accessible to non-specialized mass audiences,\u201d and to encourage people to \u201cthink of themselves and the world around them in terms of patterns, relationships and systems of organization\u201d (79). Neurath\u2019s earliest exhibit, at the 1925 Vienna Hygiene Exhibition, featured a diagram demonstrating that \u201cthe smaller the income-level of a group of people, the higher the likelihood that tuberculosis will sicken and kill\u201d (Vossoughian 79). Shadowpox: The Antibody Politic<\/em> is similarly designed to enable players to think of their own actions as part of a wider pattern of community relationships.<\/p>\n
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Figure 8a. Otto Neurath, Great War 1914-18, Published in a traveling, folding presentation portfolio for the Mundanaeum in London, 1930s. Image courtesy of Otto and Marie Neurath Isotype Collection, University of Reading.<\/figcaption><\/figure>\n
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Figure 8b. Otto Neurath, Tuberculosis spreads in the household, 1938. Chart from the \u2018Fighting Tuberculosis\u2019 exhibition produced for The National Tuberculosis Association in the USA. Image courtesy of Otto and Marie Neurath Isotype Collection, University of Reading.<\/figcaption><\/figure>\n
The Shadowpox<\/em> game begins with two choices that determine how your actions will affect the world around you. An arrow-cursor appears over your avatar\u2019s right hand. You gesture at a map to choose which of 193 countries your avatar hails from. The game shows you the \u201cshadowpox vaccination rate\u201d in that country, derived from real-world statistics (see next section, below). Your second choice is whether to \u201cGet the Vaccine\u201d or \u201cRisk the Virus\u201d (Figure 9). Depending on your choice, your country\u2019s vaccination rate climbs or falls by 1%.<\/p>\n
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Figure 9: Alison Humphrey, Vaccine\/Virus choice screen with vaccination rate, 2017. Photo by Alison Humphrey.<\/figcaption><\/figure>\n
If you choose to risk the virus, the game informs you that you have caught the disease, and that in the process of fighting it, you risk passing it along to others. Your \u201cinfection score\u201d tracks the number of people who catch the virus from you. On the other hand, if you choose the vaccine, the game explains that you now have the chance to practice fighting a weakened form of the disease without the risk of infecting others. Your \u201cprotection score\u201d is the number of people you would have<\/em> infected, had you been fighting the actual disease rather than rehearsing with the vaccine. After a brief explanation of how to fight the disease by moving your hands to push the small, round, shadowy pox off your body (Figure 10), the game begins.<\/p>\n
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Figure 10: Alison Humphrey, Shadowpox<\/em> game instructions signage, 2017. Image courtesy of the artist.<\/figcaption><\/figure>\n
Phase 2: Pox on \u2019Em\u2014The Community Impact<\/h2>\n
In which risk and the individual immunization decision are cast in a wider light, as the player sees the power they have to protect or infect 99 others around them.<\/em><\/p>\n
Underlying the game is a real-world population-level statistical model, a powerful reminder that countries have different levels of resilience in dealing with vaccine-preventable disease. The model was created by epidemiologist Susan Rogers Van Katwyk and Steven Hoffman, scientific director of the Canadian Institutes of Health Research Institute of Population and Public Health. As you fight the disease, throwing pox off your body, some of the virus will come in contact with one of the 99 other people around you. The odds of your neighbour becoming infected depend on your choice of country at the beginning of the game\u2014not simply on its shadowpox vaccination rate, but a more complex calculation that reflects structural inequalities between nations.^{1<\/sup><\/a><\/p>\n}
Rogers Van Katwyk explains,<\/p>\n
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\u201cEach country\u2019s fictional maximum severity score\u2014how severe a shadowpox outbreak could be at 0% vaccination\u2014was calculated starting by ranking every country against each other by education, wealth and health, based on real-world statistics for:<\/p>\n
– Average Years of Education for Women,
\n– Gross Domestic Product per capita (purchasing power parity), and
\n– Health Expenditure as a percentage of GDP.<\/p>\n
We used a simple equation to combine these three factors into a score, and subtracted from 100% to create the maximum severity score. So, for example, the worst possible outbreak in Afghanistan is 95% while the worst possible outbreak in New Zealand is 78.6%. We also calculated a starting vaccination rate, the starting point from which people\u2019s decisions increase or decrease the vaccination rate. To make this a semi-realistic illustration, we borrowed the measles vaccination rates from 1997, and divided them in half. (The 1997 rates for measles vaccination reflect several decades of public health efforts, so we imagined a novel disease like shadowpox would not yet have reached such high levels of coverage.)\u201d<\/p>\n<\/blockquote>\n
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Figure 11: Susan Rogers Van Katwyk, Shadowpox<\/em> statistical model spreadsheet, 2017.<\/figcaption><\/figure>\n
Each player who chooses not to vaccinate will reduce the rate by 1%. These changes mirror the real world by persisting throughout the exhibition. For example, when First Lady of Namibia Monica Geingos chose her home country (Figure 12), the shadowpox vaccination rate was 55%. Since she chose to vaccinate herself, the rate rose to 56%, and the next person to play for Namibia would start with that number. Each increase in the vaccination rate causes a decrease in the severity score. So, for example, when Canada\u2019s Minister of Health Jane Philpott played the game, she raised her country\u2019s shadowpox vaccination rate by 1%, thereby decreasing Canada\u2019s severity score by 0.957 and making her community less susceptible to infection.<\/p>\n
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Figure 12: First Lady of Namibia Monica Geingos plays Shadowpox<\/em> at the <Immune Nations><\/em> opening, May 23, 2017. Photo by Steven Hoffman.<\/figcaption><\/figure>\n
Rogers Van Katwyk adds, \u201cWe decided that the vaccination threshold for shadowpox herd immunity was 80%\u201d\u2014for polio it\u2019s 80 to 85%, for measles 95%\u2014\u201cso any increases in vaccination rate above 80% won\u2019t make a change in disease severity.\u201d The final ingredient in the statistical recipe was the case fatality rate. When I asked Hoffman to suggest a reasonable rate for shadowpox, he answered, \u201cEbola was an average of 50%. Smallpox was 30%. Depends on how dramatic you want to be!\u201d While I was concerned not to over-dramatize, as a dramatist I know it\u2019s possible to under-dramatize as well. Players have more fun when their actions have high stakes.<\/p>\n
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Figure 13: Alison Humphrey, Healthy, sick and dead neighbours<\/em>, 2017. The healthy and sick figures are stills from animated loops by Geoffrey Cramm; the dead figure is a pictogram by Leremy Gan.<\/figcaption><\/figure>\n
In the end, we settled on a fixed case fatality rate of 20%, drawing again on real-world statistics from measles, whose rate is 0.2% in the United States, but up to 25% in some developing countries. I thought perhaps we should make this a variable too, but Rogers Van Katwyk explained that there was no need to vary the case fatality rate given that the severity rate already varied by country. As a statistics neophyte, I remained confused despite her explanations (and still slightly concerned about overdramatizing), but I went with the fixed rate out of respect for her expertise. Cross-disciplinary collaboration requires a willingness to ask what feel like stupid questions, and when good answers still go over one\u2019s head, it requires respect for and trust in others\u2019 expertise. This kind of trust in experts is a crux of vaccine confidence, as well\u2014its erosion can lead to hesitancy, denialism, and, in extreme cases, conspiracy theories.<\/p>\n
Phase 3: Pox\u00e9mon\u2014Faces in the Crowd<\/h2>\n
In which the player\u2019s final score is unpacked into an online \u201cInfection Collection\u201d or \u201cProtection Collection,\u201d a community composed of unique individuals.<\/em><\/p>\n
At the end of the game, you are given a final score representing the number of people you infected, and the number of these who died (or the number you protected from those fates, if you chose the vaccine). This score is translated into a three-letter code, which you write on a card to complete its web link: \u201cshadowpox.org\/__ __ __.\u201d<\/p>\n
When you visit the Pox\u00e9mon website, abstract statistics transform into singular humans. Whereas in the game, the people in your community are without names or any other distinguishing features, once you venture online, this identical population blooms into individuality. Slovic and Slovic attest to the difficulty of making human drama out of data: \u201cEven the most mathematically gifted human beings are psychologically limited when it comes to attaching feeling to numerical information\u201d (7).<\/p>\n
Your online \u201cInfection Collection\u201d or \u201cProtection Collection\u201d riffs on the Pok\u00e9mon trading card series, each virtual card depicting a single individual whose life you have touched\u2014for better or worse\u2014giving them a name, a \u201cnano-story\u201d written by Caitlin Fisher, and a unique pictogram designed by Leremy Gan. (See shadowpox.org\/ZZZ<\/a> for the full set of 99 cards.)<\/p>\n
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Figure 14: Caitlin Fisher (text) and Leremy Gan (pictogram), Pox\u00e9mon card: Ima<\/em>, 2017. Image courtesy of the artists.<\/figcaption><\/figure>\n
Ofri points out one strength public health can borrow from the arts, while explaining the Journal of Public Health<\/em>\u2019s decision to name a new column Chekhov\u2019s Corner, after a famous Russian playwright and doctor:<\/p>\n
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\u201cPublic health, after all, deals with populations; it eschews the individual except as it forms one of a group. The creative arts, however, deal almost exclusively with individuals. Literature, in particular, always has a protagonist, and the protagonist is never \u2018Irish alcoholics with pancreatitis,\u2019 or \u2018female prisoners receiving hepatitis B vaccination\u2019 [\u2026] A protagonist is an individual.\u201d (205)<\/p>\n<\/blockquote>\n
Indeed, many non-scientists feel uneasy with the overtones of the term \u201cherd immunity,\u201d the proportion of a community that must be immunized to protect against the spread of an infectious disease. The phrase \u201ccommunity immunity\u201d is beginning to replace it (I would suggest \u201cco-immunity\u201d as a snappier substitution), and the rhyme points to the fact that the root word of both \u201cimmunity\u201d and \u201ccommunity\u201d is the Latin munus<\/em>, meaning a duty or service performed for the group\u2014and also, as in the word \u201cmunificent,\u201d a gift.<\/p>\n
From the individual (Pox on Me<\/em>) to the community (Pox on \u2019Em<\/em>) and back to the individual (Pox\u00e9mon<\/em>), Shadowpox: The Antibody Politic<\/em> uses game-play to make visible the public consequences of our private choices. This perspective came late in the development of the piece, however. The next section explores the why<\/em> behind the what<\/em>: the theory behind the game\u2019s design evolution.<\/p>\n
As my doctoral research employs a research-creation methodology, I have a general as well as a vaccine-specific motive for thinking about the relationship between knowledge, politics, and aesthetics. Chapman and Sawchuk underline the difference between art as \u201ccreative presentation\u201d of a predetermined message, and art as a process of inquiry (\u201ccreation-as-research\u201d); the latter \u201cplaces value on the relational qualities instigated through making and highlights how unexpected and even unknowable its outcomes can be\u201d (50). By listening to others and reflecting on the worldviews informing my design choices as I went, I discovered a major personal blind spot with regard to vaccination choice, which eventually enlarged the frame of the work, and prompted some useful humility and empathy as I sought ways to help players reflect on their own role in a wider game.<\/p>\n
Science and Sensibility<\/h2>\n
T<\/span>he <Immune Nations><\/em> website (www.immunenations.com) asserts that \u201cArt\/creative research has the potential to play an important role in helping to foster a more nuanced discourse around vaccines by articulating elusive or emotionally charged issues.\u201d That\u2019s a carefully worded mission statement. It would be easy to assume when part of the public hesitates to accept an evidence-based scientific consensus\u2014like climate change, or the safety and efficacy of vaccines\u2014that the problem is simply a lack of facts. If that were true, artists would be reduced to the role of decorators on a straightforward education outreach effort. But as researchers increasingly call out the dangers of the \u201cknowledge deficit model\u201d (Kitta and Goldberg; Sobo et al.), it is becoming clear that artistic researchers have more to contribute than attractive infographics.<\/p>\n
Alain Badiou outlines four frameworks that have been used to imagine the educational relationship between the arts and philosophy (for which we can read \u201cscience\u201d). Didacticism, romanticism, and classicism are the first three schemata (5). In the didactic schema, art is seen as a \u201cfalse truth,\u201d but one that can still lend \u201cthe transitory force of semblance or of charm to a truth that is prescribed from outside\u201d (2) (an echo of Hegel\u2019s belief that \u201cart is what cheers and animates the dull and withered dryness of the idea\u201d [viii]). Badiou\u2019s label \u201cdidactic\u201d springs from this schema\u2019s assertion that \u201cthe good essence of art is conveyed in its public [i.e., educational] effect, and not in the artwork itself\u201d (2). By contrast, in the second schema, the romantic, \u201cart alone is capable of truth [\u2026] it is the real body of truth.\u201d Instead of acting as an enticing vehicle for a philosophical truth, \u201cArt delivers us from the subjective barrenness of the concept\u201d altogether. It is not seen as the garnish\u2014\u201cit is incarnation\u201d (3).<\/p>\n
Between the didactic and romantic schemata Badiou identifies a third, the classical, in which art is seen as \u201cinnocent of all truth. In other words, it is inscribed in the imaginary\u201d (4). Here art is ruled not by realism, but by \u201c\u2018verisimilitude\u2019 or \u2018likelihood\u2019\u201d in contrast with the \u201cclassical definition of philosophy: \u2018The unlikely truth\u2019\u201d (4). There is a parallel here with how our feelings and thoughts influence our beliefs about vaccination. The idea that injecting inactivated pathogens can improve health, rather than make us sick, is not just disgusting\u2014it is counterintuitive. Some science is stranger than fiction. By contrast, with so many genuine episodes of corporate malfeasance and government cover-up in popular memory, it makes intuitive sense to believe urban legends of vaccine skullduggery. Such artful stories, though they may be unsupported by solid evidence, have \u201cverisimilitude.\u201d It is sometimes easier to suspend our disbelief for a \u201clikely\u201d story than for \u201cunlikely\u201d science.<\/p>\n
Badiou concludes by positing a fourth schema in which \u201cart itself is a truth procedure\u201d that generates \u201cimmanent\u201d and \u201csingular\u201d truths\u2014truths \u201cinternal to the artistic effect of works of art,\u201d and \u201cgiven nowhere else than in art\u201d (9). In this schema, \u201cArt is pedagogical for the simple reason that it produces truths and because \u2018education\u2019 (save in its oppressive or perverted expressions) has never meant anything but this: to arrange the forms of knowledge in such a way that some truth may come to pierce a hole in them\u201d (9). This is a breathtakingly poetic image, even without digging into Badiou\u2019s very particular definitions of the troublesome terms \u201ctruth procedure,\u201d \u201cknowledge,\u201d and \u201ctruth.\u201d What Badiou means here by \u201ceducation\u201d is not the didactic, where art is a vehicle for a message given from outside\u2014for example, by science. Rather, art is \u201cthe thinking of the thought that it itself is\u201d (14).<\/p>\n
As mentioned above, the mixed-reality game of Shadowpox: The Antibody Politic<\/em> is part of a larger project that forms the core of my research-creation doctoral thesis.^{2<\/sup><\/a> Shadowpox<\/em> is an online science fiction storyworld being co-created with young artists on three continents. The first laboratory took place in June 2016 in London, and the project spread to North America, Europe, and Africa for the centenary of the 1918-1919 influenza pandemic.<\/p>\n}
Lalaine Ulit-Destajo created the first generation of the shadowpox code in 2016, in preparation for a week-long workshop with nine graduating third-year actors at the Royal Academy of Dramatic Art (RADA). Drawing data from the Kinect motion sensor into the open source C++ toolkit openFrameworks, the code generated living, viral shadows that budded, grew, and spread as they were projected across the actor\u2019s body (Figure 15). The actor could \u201cgrab\u201d the pox and drag them off their body, fighting the disease to keep it from engulfing them in shadow.<\/p>\n
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Figure 15: Video stills from RADA Shadowpox<\/em> workshop, 2016. Photo by Simon Eves.<\/figcaption><\/figure>\n
Our fictional scenario for the workshop was that the actors were volunteers in a phase I trial of a new vaccine candidate (dubbed toropox<\/em>, in honour of cowpox, the original and eponymous vaccine), being tested at the height of a shadowpox epidemic. Our dramatic touchstone was the fact that anyone who decides to become immunized\u2014whether with a vaccine candidate in a cutting-edge trial, or with a long-established vaccine in a local clinic\u2014is not just protecting themselves. Through co-immunity, they are also committing an act of heroism to benefit a wider community.<\/p>\n
The group of actors spent the beginning of the week getting up to speed on the biology and the sociology of immunization, exploring the fears that contribute to vaccine hesitancy (Figure 16), and hearing from epidemiologist Conall Watson of the neighbouring London School of Hygiene and Tropical Medicine about his participation in the recent successful Ebola vaccine trial in Guinea. For the next few days, each actor devised their own character backstory, and was interviewed on camera in-character, speaking about a loved one who had been touched by the disease, and the sequence of events that had led them to volunteer for the trial. We administered the shadowpox vaccine and recorded the results. Finally, we interviewed each actor out-of-character, exploring their thoughts on the dyads of light\/shadow, individual\/collective, and fear\/courage in their own creative work. They mused on the metaphor of vaccination as rehearsal: the artist\u2019s advance preparation for the live performance.<\/p>\n
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Figure 16: RADA workshop. Left to right: Jamael Westman, Skye Hallam, Alison Humphrey, Polly Misch, Simon Eves, Fehinti Balogun, Natasha Cowley, Sayre Fox, Abraham Popoola (not pictured: Tom Martin, Maisie Robinson), 2016. Photo by Lalaine Ulit-Destajo.<\/figcaption><\/figure>\n
All of this was recorded on video in London in June 2016. However, in Geneva in August 2016, during the second <Immune Nations><\/em> workshop, Caitlin Fisher, Steven Hoffman, and I spent hours discussing how Shadowpox<\/em> could best sit within the <Immune Nations><\/em> exhibition the following spring. We sought a way to give the gallery visitor a more participatory experience than watching actors on a screen. We wanted them to share the visceral sensation of fighting a disease made of shadows, spreading across their own skin. We hoped that an installation-based Shadowpox<\/em> game would offer an intensity of physical and emotional affect that would heighten the gallery visitor\u2019s sense of connection not just to the piece but to the community context of their own future vaccination decisions.<\/p>\n
As I returned to Toronto and worked on designing a Shadowpox 2.0<\/em> in video game form, I kept returning to Bogost\u2019s concept of procedural rhetoric, \u201cthe practice of authoring arguments through processes\u201d (\u201cRhetoric of Video Games\u201d 125). Bogost quotes Murray\u2019s definition of procedural authorship: \u201cwriting the rules for the interactor\u2019s involvement, that is, the conditions under which things will happen in response to the participant\u2019s actions\u201d (122). As an artistic creation, a game\u2019s world is the sum total of artistic choices that include \u201cif\/then\u201d rules of in-game physics, biology, and social behaviour, just as much as colour palette and soundtrack composition. Computer programming uses rule-based \u201cif\/then\u201d procedures that govern how actions trigger consequences. For example, in the kids\u2019 game \u201cThe Floor Is Lava,\u201d if<\/em> you touch the floor, then<\/em> you\u2019re dead. In Pac-Man, if<\/em> the player guides Pac-Man over a power pellet, then<\/em> he can eat a ghost to earn bonus points. These invented rules, in games or science fiction, become what I call \u201cthe local laws of gravity.\u201d Bogost believes that \u201cvideogames are particularly useful tools for visualizing the logics that make up a worldview (following Gramsci), [or] the ideological distortions in political situations (following \u017di\u017eek)\u201d (Persuasive Games<\/em> 74\u201375). In designing this new Shadowpox<\/em> game, some logics and distortions in my own thinking came into view.<\/p>\n
My original interaction design concept had imagined the vaccine as a fight rehearsal, with characters and shadowpox sharing the performance space like a matador sharing the ring with a bull. Actors would create their own dance\/fight choreography, \u201cinteracting with the deadly shadowpox as it flocks like starlings or sunfish across stage surfaces and skin,\u201d as my 2015 doctoral proposal put it. In practice, this large-scale design proved unworkable for the RADA workshop, due to the short range of the Kinect sensor. I learned from Graham Wakefield of the Alice Lab for Computational Worldmaking that both devices should ideally be in the same location, at the same distance from the subject, using a similar throw. Since the Kinect\u2019s throw ratio is roughly 1:1 (where width of image equals distance from surface), its maximum range of four metres from the subject means the projector could create a playing space of only four metres wide.<\/p>\n
As a result of this technical limitation, I changed the frame of the disease interaction design from room-scale to body-scale. Inspired by the image of viral budding (Figure 17), I started with the concept that shadowpox infection was transmitted by one person\u2019s shadow falling across another\u2019s, where it incubated in the shadowed side of the new host\u2019s body, then eventually \u201cbudded\u201d out of this \u201cdark side of the moon\u201d to migrate into the lighted side.<\/p>\n
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Figure 17: R. Dourmashkin (Wellcome Images), HIV particles budding from the surface of a T cell, 2004.<\/figcaption><\/figure>\n
This concept imagined the actor\u2019s hands as the antigen-binding sites of a Y-shaped antibody (Figure 18). By grabbing the virus particles, they could neutralize them by dragging them off the body to die.<\/p>\n
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Figure 18: National Human Genome Research Institute, Antibody and antigens, n.d.Public domain.<\/figcaption><\/figure>\n
Ulit-Destajo coded a procedure whereby, when the Kinect sensed the actor\u2019s hand closing over a group of pox, the pox could be moved. If the actor moved them off the body, the pox would begin a visible death sequence: breaking, curling, shrivelling, and falling to the ground. We worked hard to make this effect compelling\u2014me by sourcing vector art of curling animal horns (Figure 19) in a nod to the name toropox<\/em>, and her by putting a sine wave on their y-position and a cosine wave on their x-position to give them a nice arc as they spun, shrank, and fell to the bottom of the frame.<\/p>\n
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Figure 19: KatarinaF and Andrijamil, Horn vector art<\/em>, n.d. Shutterstock.<\/figcaption><\/figure>\n
Ulit-Destajo also wrestled with the best way to trigger that change. We initially discussed drawing an outline around the avatar, so that when the pox crossed this frontier, its death would begin. However, that proved easier said than coded. As described above, the live-animated avatar was a collection of circles, rectangles, and B\u00e9zier curves calculated on the fly, and drawing an outline around it was so computationally taxing that it slowed gameplay. She eventually crafted a workaround based on proximity-to-centre of the avatar\u2019s spine (Figure 20). When any pox moved away from that midpoint by a distance of more than 0.75 times the spine\u2019s length, it was considered to have left the body, and its demise began (Figs. 21, 22).<\/p>\n
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Figure 20: openFrameworks code calculating when a pox\u2019s death is triggered, 2016. Photo by Lalaine Ulit-Destajo.<\/figcaption><\/figure>\n
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Figure 21: Lalaine Ulit-Destajo, Kinect skeleton-tracking: radius beyond which a pox\u2019s death is triggered, 2017. Image courtesy of the artist.<\/figcaption><\/figure>\n
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Figure 22: Actor Maisie Robinson in RADA workshop, 2016. Photo by Simon Eves.<\/figcaption><\/figure>\n
When I proudly described this procedural representation of \u201cfighting a virus\u201d to Natasha Crowcroft, a sci-fi aficionado, then chief of applied immunization research at Public Health Ontario, and one of the project\u2019s first scientific advisors, her response put the first tilt on my perspective. After first admiring the visual concept, she said simply, \u201cBut I would be concerned about infection control.\u201d That comment struck deep and stayed with me for months. In all my focus on the figure, I had ignored the ground. This is what makes a communicable disease different from, say, diabetes or cancer: the affected individual, as they fight a virus, can inadvertently infect others.<\/p>\n
The second opportunity to look at my design from a new angle came in October 2016 when I visited Debajehmujig Storytellers, a theatre company based on Wiikwemkoong Unceded Territory in northern Ontario, to discuss a possible Shadowpox<\/em> workshop. Bruce Naokwegijig, then artistic director of outreach and education, encouraged me to revisit the original room-scale design idea, in order to accommodate multiple actors in the scene and explore the fundamentally relational nature of contagion.<\/p>\n
Naokwegijig\u2019s and Crowcroft\u2019s comments led to a realization that my first interaction design had incarnated the economic concept of externalities, defined as a cost or consequence of some economic activity which affects a third party, without this cost being acknowledged or factored into the equation. I was paralleling what Reich terms the ideology of individualist parenting, which she argues \u201cprioritizes individual choice for one\u2019s own children over community obligation, [and] ignores how some families with fewer resources have fewer options, but face increased risk of illness\u201d (12). Our society\u2019s focus on the individual is equally reflected in policy efforts to increase vaccination uptake, which Kitta and Goldberg argue \u201csuffer from methodological individualism, which emphasizes the individual as the agent for behavioral change,\u201d ignoring the upstream structural factors, \u201cbelief formation, risk and risk communication, fear, legend, and folklore\u201d that determine those behaviours (1\u20132).<\/p>\n
The Shadowpox<\/em> effects quite literally embodied the idea that anything outside the outline of the actor\u2019s own individual body did not matter. When a pox got far enough from the actor\u2019s centre, it died. The game seemed to presume that no one else was affected, or if they were, they were so far from the centre of attention as to be out of sight and mind. Turning a blind eye to externalities in this way was, in Bogost\u2019s terms, an \u201cideological distortion\u201d coded into our game\u2019s procedural rhetoric<\/em>.<\/p>\n
Esposito keys the principle of immunity to the \u201cboundary between self and other\u2014between us and them\u201d (151). In stopping my imagination at that border, I had re-enacted the process that most of us use when we make immunization decisions: we think only about how a vaccine might protect or, in extremely rare cases, harm us as individuals. I had left the community who surround me\u2014family, friends, colleagues, and strangers\u2014completely out of the picture. I had forgotten that when I choose to \u201cget the vaccine\u201d or \u201crisk the virus,\u201d I take all of them along with me in that choice.<\/p>\n
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Figure 23: Alison Humphrey, \u201cMy 99 and I\u2026\u201d sticker designs for #ArtSciImmunize symposium at Jackman Humanities Institute, University of Toronto, April 13, 2017. Image courtesy of the artist.<\/figcaption><\/figure>\n
Shadowpox: The Antibody Politic<\/em> found its focus the instant those 99 other figures were added into the frame. At that moment, fighting the disease was no longer a solo activity conducted in a vacuum, but the amassing of an \u201cInfection Collection\u201d of one\u2019s fellow humans. Even the vaccine choice sparks a communal what-if: your \u201cProtection Collection\u201d is all the people you would have<\/em> infected in the alternate universe where your fight rehearsal was showtime with the actual virus, though this concept was harder to visualize. How do you show things not happening<\/em>?<\/p>\n
The team found a solution to that conundrum three years later with Shadowpox: #StayHome Edition<\/em> (shadowpox.org\/game). In this online reinvention of The Antibody Politic<\/em>, coded in JavaScript and submitted to the United Nations COVID-19 Response Creative Content Hub in April 2020, the player\u2019s avatar is infected but asymptomatic, and inclined to wander. If you don\u2019t actively work to stay home, there is a 50% chance you will infect any of the 99 neighbours who encounter you or cross the viral trail of shadowpox you leave as you walk. Each infected neighbour has a 20% chance, not of death, but of needing hospital care, bringing to mind the pandemic-era concept of \u201cflattening the curve\u201d so as not to overwhelm the healthcare system. The team was also keen to add exponential growth into the visualization this time around: if you go out and infect even one of your 99 neighbours, they can pass the virus along to others, who can pass it along in turn, and all those infections are added to your total score.<\/p>\n
Hoffman suggested that if the player\u2019s initial choice is between going out and staying home, the winning score should be zero: \u201cNo one else gets infected. It\u2019s boring\u2014like staying at home\u2014but that\u2019s the point.\u201d On the flip side, Soll\u00e9 proposed that if the initial choice were between two worlds\u2014one where everybody but you is physically distancing, and one where nobody is\u2014the latter world could give players a vivid model of how multiple individual choices can add up to collective chaos.<\/p>\n
Citizen Science Fiction<\/h2>\n
T<\/span>he Shadowpox project (shadowpox.org) has continued to evolve, its mixed-reality technology now powering both a participatory storytelling method I\u2019m calling \u201caction refraction,\u201d and a pedagogical framework called a \u201ccourseplay\u201d developed in collaborative workshops with Debajehmujig Storytellers and the Desmond Tutu HIV Foundation Youth Centre in Cape Town.<\/p>\n
In his eulogy for Nelson Mandela, Barack Obama said, \u201cThere is a word in South Africa\u2014ubuntu<\/em>, a word that captures Mandela\u2019s greatest gift: His recognition that we are all bound together in ways that are invisible to the eye; that there is a oneness to humanity; that we achieve ourselves by sharing ourselves with others, and caring for those around us.\u201d Shadowpox<\/em> is intended to be one example of the \u201cconstructive role that art can play in global political discourse around life-saving vaccines\u201d (<Immune Nations><\/em>): the use of visual, narrative and procedural rhetoric to make visible the ways we are all connected, and the impact we have on one another.<\/p>\n
Community immunity can only be achieved, not by a single hero, but by the dragon-slaying courage of hundreds of thousands. Perhaps this \u201ccitizen science fiction\u201d can offer young people more ways to imagine the unseen, to inspire reflection and debate in the audience of their peers, and to generate new insights into one of the thorniest political dilemmas of public health: voluntary participation in the collective good.<\/p>\n
\n
Acknowledgments<\/h2>\n
Alison Humphrey<\/strong> would like to acknowledge the invaluable support of the Vanier Canada Graduate Scholarship, as well as York University\u2019s Immersive Storytelling Lab, Future Cinema Lab, and Alice Lab for Computational Worldmaking, in making the Shadowpox project possible.<\/p>\n<\/section>\n
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Works Cited<\/h2>\n
Badiou, Alain. Handbook of Inaesthetics<\/em>. Translated by Alberto Toscano, Stanford UP, 2005.<\/p>\n
Biss, Eula. On Immunity: An Inoculation.<\/em> Minneapolis: Graywolf Press, 2014.<\/p>\n
Bliss, Michael. The Making of Modern Medicine: Turning Points in the Treatment of Disease<\/em>. U of Chicago P, 2011.<\/p>\n
Bogost, Ian. Persuasive Games.<\/em> MIT P, 2007.<\/p>\n
Bogost, Ian. \u201cThe Rhetoric of Video Games.\u201d The Ecology of Games: Connecting Youth, Games, and Learning<\/em>, edited by Katie Salen Tekinbas, MIT Press, 2008, pp.\u00a0117\u201340.<\/p>\n
Chapman, Owen, and Kim Sawchuk. \u201cCreation-as-Research: Critical Making in Complex Environments.\u201d RACAR: Revue d\u2019art canadienne<\/em>, vol.\u00a040, no. 1, 2015, pp.\u00a049\u201352. doi: 10.7202\/1032753ar.<\/p>\n
Deleuze, Gilles. Francis Bacon: The Logic of Sensation<\/em>. Translated by Daniel W. Smith, Continuum, 2013.<\/p>\n
Esposito, Roberto. Immunitas: The Protection and Negation of Life<\/em>. Translated by Zakiya Hanafi, Polity Press, 2011.<\/p>\n
Hegel, Georg Wilhelm Friedrich. (1818-1829). Introductory Lectures on Aesthetics<\/em>. Translated by Bernard Bosanquet, Penguin Books, 1993.<\/p>\n
Howells, Laura.\u00a0\u201cAfter the Death of Her 2-Year-Old, Mississauga Mom Urges Everyone to Get Their Flu Shot.\u201d CBC News<\/em>, 21 Oct.\u00a02016. cbc.ca\/news\/canada\/toronto\/mississauga-flu-shot-1.3816316.<\/p>\n
<Immune Nations>.<\/em> www.immunenations.com<\/u><\/a>. Accessed 3 Mar.\u00a02020.<\/p>\n
Kitta, Andrea, and Daniel S. Goldberg. \u201cThe Significance of Folklore for Vaccine Policy: Discarding the Deficit Model.\u201d Critical Public Health<\/em>, 2016. doi: 10.1080\/09581596.2016.1235259.<\/p>\n
Murray, Janet. Hamlet on the Holodeck: The Future of Narrative in Cyberspace<\/em>. Free Press, 1997.<\/p>\n
Obama, Barack. \u201cObama\u2019s Speech at Mandela Memorial (Transcript): \u2018Mandela Taught Us the Power of Action, But Also Ideas.\u2019\u201d Washington Post<\/em>, 10 Dec.\u00a02013. washingtonpost.com\/world\/obamas-speech-at-mandela-memorial-mandela-taught-us-the-power-of-action-but-also-ideas\/2013\/12\/10\/a22c8a92-618c-11e3-bf45-61f69f54fc5f_story.html.<\/p>\n
Ofri, Danielle. \u201cPublic Health and the Muse.\u201d Journal of Public Health<\/em>, vol.\u00a030, no. 2, 2008, pp.\u00a0205\u201308.<\/p>\n
Reich, Jennifer A. Calling the Shots: Why Parents Reject Vaccines<\/em>. NYUP, 2016.<\/p>\n
Slovic, Scott, and Paul Slovic. Numbers and Nerves: Information, Emotion, and Meaning in a World of Data.<\/em> Oregon State UP, 2015.<\/p>\n
Sobo, Elisa J., et al.\u00a0\u201cInformation Curation among Vaccine Cautious Parents: Web 2.0, Pinterest Thinking, and Pediatric Vaccination Choice.\u201d Medical Anthropology<\/em>, vol.\u00a035, no. 6, 2016, pp.\u00a0529\u201346, doi:10.1080\/01459740.2016.1145219.<\/p>\n
Vossoughian, Nader. Otto Neurath: The Language of the Global Polis<\/em>. NAi Publishers, 2008.<\/p>\n
Willrich, Michael. Pox: An American History.<\/em> Penguin Books, 2011.<\/p>\n<\/section>\n
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Image Notes<\/h2>\n
Figure 1. Fold-out colour plate showing vaccination scars. Wellcome Collection, Attribution 4.0 International (CC BY 4.0). https:\/\/wellcomecollection.org\/works\/hyjxgxax<\/a>.<\/p>\n
Figure 2. Alison Humphrey, PoxOnMe, PoxOn\u2019Em, Pox\u00e9mon<\/em>, 2017. Title animation stills. Image courtesy of the artist.<\/p>\n
Figure 3. Shadowpox<\/em> player at the <Immune Nations><\/em> exhibition opening, UNAIDS, 2017. Photo by Alison Humphrey.<\/p>\n
Figure 4. Lalaine Ulit-Destajo, Maggie the Mannequin and Alison Humphrey calibrating projector with Kinect skeleton tracking, 2016. Photo by Wesley Moir.<\/p>\n
Figure 5. Coding in openFrameworks for real-time avatar animation, 2016. Photo by Lalaine Ulit-Destajo.<\/p>\n
Figure 6. Half-finished pictogram avatar with torso and joints, 2016. Photo by Lalaine Ulit-Destajo.<\/p>\n
Figure 7. Final pictogram avatar in action among 99 neighbours, 2017. Photo by Alison Humphrey.<\/p>\n
Figure 8a. Otto Neurath, Great War 1914-18, Published in a traveling, folding presentation portfolio for the Mundanaeum in London, 1930s. Image courtesy of Otto and Marie Neurath Isotype Collection, University of Reading.<\/p>\n
Figure 8b. Otto Neurath, Tuberculosis spreads in the household, 1938. Chart from the \u2018Fighting Tuberculosis\u2019 exhibition produced for The National Tuberculosis Association in the USA. Image courtesy of Otto and Marie Neurath Isotype Collection, University of Reading.<\/p>\n
Figure 9. Alison Humphrey, Vaccine\/Virus choice screen with vaccination rate, 2017. Photo by Alison Humphrey.<\/p>\n
Figure 10. Alison Humphrey, Shadowpox<\/em> game instructions signage, 2017. Image courtesy of the artist.<\/p>\n
Figure 11. Susan Rogers Van Katwyk, Shadowpox<\/em> statistical model spreadsheet, 2017.<\/p>\n
Figure 12. First Lady of Namibia Monica Geingos plays Shadowpox<\/em> at the <Immune Nations><\/em> opening, May 23, 2017. Photo by Steven Hoffman.<\/p>\n
Figure 13. Alison Humphrey, Healthy, sick and dead neighbours<\/em>, 2017. The healthy and sick figures are stills from animated loops by Shutterstock\/GCramm; the dead figure is a pictogram by Leremy Gan.<\/p>\n
Figure 14. Caitlin Fisher (text) and Leremy Gan (pictogram), Pox\u00e9mon card: Ima<\/em>, 2017. Image courtesy of the artists.<\/p>\n
Figure 15. Video stills from RADA Shadowpox<\/em> workshop, 2016. Photo by Simon Eves.<\/p>\n
Figure 16. RADA workshop. Left to right: Jamael Westman, Skye Hallam, Alison Humphrey, Polly Misch, Simon Eves, Fehinti Balogun, Natasha Cowley, Sayre Fox, Abraham Popoola (not pictured: Tom Martin, Maisie Robinson), 2016. Photo by Lalaine Ulit-Destajo.<\/p>\n
Figure 17. R. Dourmashkin (Wellcome Images), HIV particles budding from the surface of a T cell, 2004. Wellcome Images available under the following creative commons usage http:\/\/creativecommons.org\/licenses\/by-nc-nd\/2.0\/uk\/<\/a>; http:\/\/www.cellimagelibrary.org\/images\/39465<\/a>.<\/p>\n
Figure 18. National Human Genome Research Institute, Antibody and antigens, n.d. Public domain, originally a work of the United States Government, https:\/\/commons.wikimedia.org\/wiki\/File:Antibody.png<\/a>.<\/p>\n
Figure 19. KatarinaF and Andrijamil, Horn vector art,<\/em> n.d., purchased by the author at Shutterstock.<\/p>\n
Figure 20. openFrameworks code calculating when a pox\u2019s death is triggered, 2016. Photo by Lalaine Ulit-Destajo.<\/p>\n
Figure 21. Lalaine Ulit-Destajo, Kinect skeleton-tracking: radius beyond which a pox\u2019s death is triggered, 2017. Image courtesy of the artist.<\/p>\n
Figure 22. Actor Maisie Robinson in 2016 RADA workshop, 2016. Photo by Simon Eves.<\/p>\n
Figure 23. Alison Humphrey, \u201cMy 99 and I\u2026\u201d sticker designs for #ArtSciImmunize symposium at Jackman Humanities Institute, University of Toronto, April 13, 2017. Image courtesy of the artist.<\/p>\n
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Notes<\/h2>\n<\/section>\n<\/div>\n
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Editor\u2019s note: For more on how structural inequalities between developing and developed countries are reflected in vaccine availability, distribution, and uptake, see Sahar et al., \u201cOverview of Key Legal, Political, and Social Challenges Facing Global Vaccination Efforts,\u201d this volume.\u21b2<\/a><\/p>\n<\/li>\n
\n
Working title: \u201cThe Shadowpox<\/em> Storyworld as Citizen Science Fiction: Building Co-Immunity through Participatory Mixed-Reality Storytelling\u201d (Cinema and Media Arts, York University).\u21b2<\/a><\/p>\n<\/li>\n<\/ol>\n<\/section>\n","protected":false},"excerpt":{"rendered":"
Table of Contents | Article doi: 10.17742\/IMAGE.IN.11.2.10 | PDF The Antibody Politic Alison Humphrey Imagining Co-Immunity in Shadowpox: The Antibody Politic Alison Humphrey Shadowpox: The Antibody Politic is a game-based interactive installation that renders visible the forces our immunization decisions exert not just on our personal health but on the health of others. Part fact, […]<\/p>\n","protected":false},"author":7987,"featured_media":13422,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[141],"tags":[],"class_list":["post-13378","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-11-2-research-creation-at-the-intersection-of-vaccine-science-and-global-health-policy","wpautop"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/imaginations.space\/wp-content\/uploads\/10-humphrey-image7-1-scaled.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p707hj-3tM","_links":{"self":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/13378","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/users\/7987"}],"replies":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=13378"}],"version-history":[{"count":16,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/13378\/revisions"}],"predecessor-version":[{"id":13617,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/13378\/revisions\/13617"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/media\/13422"}],"wp:attachment":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13378"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13378"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13378"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

Notes<\/h2>\n<\/section>\n<\/div>\n\n\n