Journal articles on the topic 'King Farouq'

Literary was born to reveal the writer’s appreciation for the problems inside, and also as an expression of the writer’s heart situation. Talk about literary certainly have many types, one of them is poetry. Farouk Juwaidah which has been known as king of love nickname because being able to make poetry with beautiful words. One of the poetry is LAU ANNANA LAM NAFTARIQ collect in one of the anthology. The purpose of this reserch to analyze poetry from heuristic and hermeneutic substance in semiotick Riffaterre. Use of this semiotick Riffaterre substance to reveal konotatif meaning in the poetry. The result of this research show that this poetry is an expression of deep sadness because of the separation with the lover, which is caused by the fate of death. So from the separation made him experience fragility of his life so lost of strength in his self to continue a new life. Wishful thinking with the lover disappered like a suddenly dim light. But, behind deep sadness there is positive belief later a new star will appear that illuminate the days.

This paper discusses the character of King Juha, the protagonist of the comedy Mfalme Juha by Farouk Topan, using an approach that considers the humoristic dimension of this character. The definition of humorism employed here is that given by Pirandello: the result of an aesthetic process in which the comic effect deriving from an object of laughter is tempered and contrasted by a “sentiment of the contrary” that observes and builds empathy with the inner contradictions of the object itself. After a short outline of Mfalme Juha’s critical history which shows that the humoristic dimension of King Juha has never been considered in critiques, this paper focuses on an analysis of this character, in which the core feature of egocentricity is identified. Juha’s egocentricity and its humoristic nature are analysed in the character’s relationship with his subjects as their king and in his idea of art and culture; in both cases it is shown that what is important is not the wickedness or egoism of Juha, but his lack of comprehension of the world. Juha is incapable of understanding his environment and other people, since he can not doubt his own superiority: this puts him in several comic situations, but on the other hand makes him a victim of his smart subjects, so that he arouses a feeling of sympathy in which Pirandello’s sentiment of the contrary can be traced.

The research paper aims to isolate and resist fungi as they are one of the factors of microbial damage to the archaeological bushel. The archaeological bushel understudy dates back to the era of King Farouk. It was one of the measuring tools that have been used for decades in measuring grains, especially wheat. The study helped identify the signs of damage because the bushel was extracted from a moist environment and was covered by clay calcifications and salts. There were morphological changes on the surface of the archaeological bushel, so the biological activities of the isolated microorganisms were investigated and the causative microorganisms from the archaeological bushel were isolated and characterized as Aspergillus flavus and Aspergillus fumigatus. Nanomaterials were created for the sterilization process of surfaces. Nano-silver and nano-gold materials were extracted from identified fungi and a comparison was made between them to choose the best in the treatment process. It was found that nano-gold 1% concentration is sufficient to inhibit all isolated microorganisms.

This article tries to explain several points of 'Audah 's thoughts on kalam, syari'ah, qanun, and khawarij. 'Abd al-Qadir 'Audah is categorized as a great reformer who has revolutionary-minded. Along with his friends succeed to resurrect the Islamic doctrines in Egyptian society through the religious purification movement by using the slogan 'returning to the Qur'an and Sunnah'. Besides as great 'ulama’, he also deserved well for his country by overthrowing Faraouk, the tyrant king of Egypt, through the revolutionary action of 1952 in Egypt. Hence, it is logic if he was well-known as a great ulama and a revolutionary reformer of the twentieth century.

AbstractIn this article I argue that the Egyptian state emerged as a welfare provider in the mid-20th century, first by depending on the services of charitable societies to feed, educate, and provide medical assistance to the poor, and later by imitating and harnessing the activities of charitable societies. Drawing on correspondence between the state and service societies from the 1880s to 1945, when King Faruq (r. 1936–52) granted the Egyptian Ministry of Social Affairs (MOSA) the authority to define and to circumscribe the activities of social welfare organizations, the article illustrates the interactions of and the similarities between private and state-sponsored charity. The article further suggests that the establishment of MOSA helped to consolidate the hegemony of the Egyptian state over society and, at the same time, exemplified a dialectical process of state formation engaged in by Egyptian heads of state, service organizations, and the Egyptians whose needs they served.

Egypt of the nineteenth and twentieth centuries has long been a focus for study by social scientists and humanists of various disciplines. To an extensive bibliography is now added a unique work of social history that explores the lives of Egypt's poor and the shifting attitudes toward them over 150 years. Mine Ener has written an account of how the poor of Cairo and Alexandria negotiated assistance from traditional institutions and government agencies alike, and how the nature of institutions offering assistance changed during this time. She posited that, for much of this period, the attitude of successive Egyptian governments toward the poor was one infused with an Islamic ethos of charity and informed by shifting political concerns. Continuous evidence of government behavior—from Mehmet Ali Pasha in the early nineteenth century to King Farouk in the mid-twentieth—demonstrates that the source of charity was never thoroughly depersonalized. Each one claimed to be the source of assistance and couched his claims in the language of the concerned and conscientious Muslim ruler.

The object of this research is the policy of Great Britain in Egypt from August 1936 to April 1938. The subject of this research is the trends in Foreign Office policy and local British authorities concerning Egypt in the context of external and internal challenges. Major attention is given to the situation that formed after signing the Anglo-Egyptian Treaty of 1936. The author explores Britain’s responses to the aggressive policy of Italy in the region, as well as during the “palace crisis” in Egypt, which followed the death of King Fuad and transition of the throne to his son Farouk. These events threatened Britain’s presence in the region, which the Empire has been fighting for since the middle of 1930s. The scientific novelty consists in introduction of new sources, namely the diaries of the British High Commissioner Miles Lampson. The author notes that Great Britain continues to soften the style of governance and avoid hash and radical decisions. For example, the antagonism with Italy was settled by diplomatic negotiation and led to signing the Anglo-Italian Agreement in April of 1938. In terms of the domestic political situation, the “palace crisis had been overcome using soft means by creating a positive balance of power for Britain’s presence in the Egyptian political system, as well as through negotiations with anti-British forces.

Islam teaches Muslims to be kind and tolerant towards non-Muslims, and it does not allow any individual to mistreat even a single person on the basis of differences in beliefs and opinions. The teachings of the Quran and Hadith provide basic guidance to build relationships on the basis of Islamic ethical considerations. The holy Prophet himself established excellent relations with non-Muslims in the fields of politics, society, and economy. Prophet Muhammad benefitted from non-Muslim scholars without any interference from religiously biased prejudice, and also after the holy Prophet, the Four pious caliphs built healthy relationships with non-Muslims’ competent scholars with equal zest. Islam is the well-wisher of the world and teaches humanity to behave with love and affection without any impurities of ill-fated, chaotic, and destructive behaviors towards humanity because Islam is a perfect and complete code of life and works for the betterment of human kind. The lives of the companions of the Prophet Muhammad are beacons for our lives to nurture. Let us have the life of Omar Farooq, whose actions and acts reminded us of lessons of ascension for humans who got destroyed from guidance and destination. His life provides us with codes of conduct to remind us of the adjuration of ascension for humanity. Your luminous examples in decision-making, conquests, and justice provide solutions to every problem for man. That is why a brave new world demands a charter compiled on the teachings and decisions of the caliphate and non-Muslims’ impassionate tutelage, which provides a pivotal point to discuss interdisciplinary and comparative religious problems to solve human problems and inculcate religious harmony to nurture and flourish human society. Keywords: humanity, guidance, ascension, decision, religious

Abstract Chinese scholars just began to study Arabic literature since Reform and Opening-up of China in 1979, though Arabic language began to be taught in Peking University since 1951. Chinese scholars’ studies on Arabic literature studies at that time were at the edge of studies of world literature. Articles on Arabic literature just issued on Arab World. It was still difficult for professors of Arabic literature to issue their articles at the journals such as Foreign Literature Review, Literature Abroad, Foreign Literature Studies, Foreign Literature and Contemporary Foreign Literature in 1980s. These journals preferred to issue papers on western literature and Russian literature during that period. In recent years, studies on Arabic literature developed rapidly in China. The Chinese intellectuals do not study on ancient Arabic literature only, but study on modern and contemporary Arabic literature also. They published books on Arabic literature such as On Arabian Nights: Mythology and Reality,Singing for Love: A Study on Kuwait Poetess Souad al-Sabah,Sufism in Modern Arabic Literature, Modern Arabic Literature During the Cultural Changes,Arabic Poetry in the Context of Globalization: A Study on Egyptian Poet Farouk Guweidah, and Comparative Study of Chinese and Arabic Literature. They also wrote histories of Arabic literature, for example, History of Arabic Literature, History of Modern Arabic Literature and General History of Arabic Literature are available in Chinese book market in these years. Professor Zhong Jikun won Appreciation Award of Egypt Ministry of Higher Education in 2005, won Sheikh Zayed Book Award’s Cultural Personality of the Year in 2011 and in the same year won King Abdullah bin Abdulaziz International Prize for Translation. These prizes and awards show us that studies on Arabic literature have moved from the edge of China to the center of Arab world.

This paper investigates the moral representation of animals in two English and Arabic short stories from a cognitive stylistic (CS) perspective. Animal stories appear in a variety of forms, but all include one or more type of animals as the focus of the story. Authors of children literature use animal characters to convey moral ideas through analogy, ideas that would have greater impact than if child characters were presented. CS is the interface between linguistics, literary studies and cognitive science. It deals with the cognitive processes which influence text interpretation during the act of reading. It takes into account both the formal features of language and the nonlinguistic context of the readers in constructing meaning out of a text. The analysis in this paper is conducted through schema theory. The filling-in of textual gaps with one’s own cognitive knowledge is the basic premise behind schema theory. The hallmark of schema theory is that interpreting any kind of fiction relies on the reader’s background knowledge. When reading a text, readers interpret what is presented by supplying their own knowledge of the world. The analysis tackles the examination of both the thematic and technical tools that are employed by the writers of animal short stories to instill morals in the minds and cognitions of the child readers. The two short stories analyzed are; "Finding Nemo" by Andrew Stanton, and an Arabic one entitled "??????? ????? ?????" " kat?k?t? ????? mrt?n "(Katakito errs twice) by Nabil Farouk. The analysis yields the conclusion that the schema of any person, whether the writer or the child reader, is culturally and naturally affected.

Abstrak
 Objektif. Lovebird merupakan salah satu spesies dari Genus Agapornis, berasaldari Negara Yunani Agape yang berarti cinta dan Ornis yang berarti burung.Seiring berkembangnya jaman banyaknya peminat pembeli atau peminat hobilovebird yang baru cenderung awam dalam pengetahuan dari lovebird. Haltersebut menyebabkan dalam pembelian lovebird tidak mengetahui jenis-jenissedangkan jenis burung lovebird bermacam-macam warna. Sehingga perluadanya penelitian yang dapat bermanfaat untuk masyarakat awam dalammengetahui jenis-jenis lovebird.Material and Metode. Penelitian ini bertujuan untuk menerapkan pengolahancitra dengan menggunakan metode euclidean distance dalam menentukan jenisjenis burung lovebird dengan berdasarkan corak gradasi warna dan tekturgambar.Hasil. Performa dari metode yang diusulkan yang diukur dengan akurasi darisempel data yang terdiri 20 data latih dan 12 data uji mampu mengidentifikasikeakurasian sebesar 83.3333%.Kesimpulan. Berdasarkan eksperimen dan pengujian metode euclidean distanceuntuk menganalisa jenis burung lovebird yang telah dilakukan maka kesimpulanyang diperoleh metode yang diusulkan yaitu euclidean distance telah berhasilditerapkan untuk menentukan jenis-jenis burung lovebird dengan berdasarkancorak gradasi warna dan tektur gambar.
 Abstrak
 Objective Lovebird is the kind of Genus Agapornis species which come fromYunani that called “Agape” which is means love and ornis that also mean a bird.Based on the development of the era, which the population of people that moreinterested to buy or having a hoby to maintain the lovebird which didnt’ knownanything about protect that lovebird. The problem causing their ability toknowing what are the kinds of the lovebird while the kind of lovebird are havingthe farious colors. From this issues this research began, this research hope thisresearch will be usefull for the common people in understanding the kinds oflovebird.Materials and Methods. This research aimed to appliying the image processingby using euclidean distance method in determining kinds of lovebird based onthe color gradation motif and picture texture.Results The perform of the suggesting method which is measured by using theaccuracy from the data sempel which consist of 20 latih data and 12 test data be able to identification the 83.3333% accuracy. The euclidean distance methodsuccessful in determining the kind of lovebird based on the gradation motif andimage texture.Conclusion. Based on the experiment and the euclidean distance method test toannalize the kind of lovebird whis has been done before, then find the conclusionthat the appropriate method is euclidean distance. The euclidean distancemethod successful in determining the kind of lovebird based on the gradationmotif and image texture.

The role of Muslim women in early childhood education is very urgent in education because women are the first source of knowledge for children. There are many supporting and inhibiting factors for the role of Muslim women executors. This study aims to find the role of female educators in Islam as a dual function that functions as a teacher, parent, and community member. The research method uses qualitative with a phenomenological approach. The findings show the role of Muslim women is not ideal, including the role of women as educators in schools, parents, and education experts. Women's awareness of early childhood education is still very low. Suggestions for future research to dig deeper into the causes of the role of women is still low, and influence government policy in increasing the role of Muslim women or non-Muslim women.
 Keywords: Role of Muslim Women, Early Childhood Education
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Purpose: The purpose of this study was to investigate factors influencing post-graduate students' reading trends at university libraries in Islamabad as well as students' reading trends and their effects on academic achievement. Methodology: To accomplish the study's objectives, a quantitative research technique was used, and a survey based on a questionnaire was undertaken. For the purpose of gathering information from the respondents, a structured questionnaire was created. Data was gathered from the libraries of Islamabad-based HEC-recognized universities using a purposive sampling technique. The survey received 129 responses from users of the 16 libraries. Findings: This study reveals that respondents like to read electronic documents rather than paper-based materials. They read for multiple purposes, including academic assignments and course work, self-development, preparation for exams, and to improve their ability in spoken and written English language communication. The study also reveals that respondents get good grades due to reading, expressing themselves well in class, can make assignments easily, makes them feel proud, and reading newspapers increases their awareness level. The study also reveals that social networking sites like Facebook, WhatsApp, Twitter, and others, as well as time spent watching TV and playing video games, have a detrimental impact on the reading trends of postgraduate students in Islamabad. Originality: This is the first study of its kind conducted in the territory of Islamabad. Therefore, its findings can have a significant impact on the readers. References Ahmad, M., Abawajy, J. H., Shahibi, M. S., Dollah, W. A. K. W., Ismail, S. A., & Saman, W. S. W. M. (2017). Model for Digital Services in Libraries. Journal of Informatics and Mathematical Sciences, 9(4), 1159-1164. Ahmad, Z., Tariq, M., Iqbal, Q., & Sial, T. A. (2021). Exploring the Factors Affecting the Development of Reading Trends among Children. 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Objective: To explore the impact of Blackboard (Bb) formative assessment on the final score in the endocrine module and determine the medical students’ perception of the impact and effectiveness of Bb.
 Methods: This exploratory case study was carried out at the King Abdulaziz University (KAU), Jeddah, Saudi Arabia (SA). Blackboard was used in the course management and formative assessment of third-year medical students and three years of data was collected (2016, 2017, 2019). In the last week of the module before the final exam, a formative assessment test that comprised of 50 Multiple Choice Questions (MCQs) was posted on Bb each year. All the students filled a questionnaire regarding their perception about the impact and effectiveness of Bb.
 Results: Overall, summative exam scores were significantly higher than the scores in formative assessment (p <0.001). A substantial positive correlation was observed between students’ marks in the online (Bb) MCQ exam and their final exam marks (p <0.001). Regarding the features of Bb, most often used by the students’ were course resources uploaded on the Bb, assignments, online quizzes, and others. Majority of the students were satisfied with the use of Bb in this module.
 Conclusions: The majority of the students liked this blended learning (BL) method and conceded the impact and effectiveness of Bb. The formative online assessment on Bb improved the students’ performance in the final exam and a positive correlation was noted between students’ marks in online (Bb) exams with their final exam marks.
 doi: https://doi.org/10.12669/pjms.36.3.1925
 How to cite this:Baig M, Gazzaz ZJ, Farouq M. Blended Learning: The impact of blackboard formative assessment on the final marks and students’ perception of its effectiveness. Pak J Med Sci. 2020;36(3):---------. doi: https://doi.org/10.12669/pjms.36.3.1925
 This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

Este artículo examina la imagen proyectada de las bailarinas en el cine egipcio a través del análisis de tres papeles en la carrera de la bailarina egipcia más famosa de todos los tiempos: Tahia Carioca. El contexto en el que se enmarcan las películas analizadas incluye el último período dela monarquía del rey F?r?q (1946-1952), la revolución de los Oficiales Libres (1952) y el régimen de Gamal Abdel Nasser (1953-1970), y concluye con la muerte de Nasser en 1970, dando comienzo a una nueva era de cambios sociales y políticos en Egipto. Consideramos los cambios socio-políticos y sus repercusiones en la arena cultural no solo como contexto sino también como parte de una relación dialéctica que influyó en la imagen de las bailarinas y que se evidencia en tres películas protagonizadas por Tahia Carioca: El juego de la mujer (1946), Mi amor moreno (1958) y Cuidado con Zuzu (1972). Del análisis de sus papeles en estas tres películas, en relación con su contexto, surge nuestro argumento, a saber: que los cambios socio-políticos acontecidos en Egipto en este periodo de tiempo se han proyectado –y han cambiado– la imagen de la bailarina, quien es vista primero como una trabajadora (1946), luego una mujer demonio(1958) y finalmente como una marginal (1972).Palabras clave: sociedad egipcia, bailarinas, imagen, marginalización, cine.AbstractThis study examines the projected image of dancers in Egyptian cinema through the analysis of three roles in the career of the most famous Egyptian dancer of all time: Tahia Carioca. The historical background for the studied films includes the last period of the King Farouk monarchy (1946-1952), the revolution of the Free Officers Movement (1952), and the Nasser regime(1953-1970), and ends with Nasser’s death, when a new social and political era started to blossom in Egypt. I consider the socio-political changes and their cultural repercussions not only as context but also as part of a dialectic relationship that affected the portrayal of dancers in three films featuring Tahia Carioca: The Lady’s Puppet (1946), My Dark Darling (1958),and Pay Attention to Zuzu (1972). By examining her roles in the three films, I argue that sociopolitical changes in Egypt have been projected in –and changed– the image of the dancer, who is first seen as a working-woman (1946), then as an evil-woman (1958), and finally as a marginalized person (1972).Keywords: Egyptian society, dancers, portrayal, marginalization, cinema.

Objective: Digital Health Literacy (DHL) is becoming a cardinal competence for all healthcare professionals (HCPs) including medical students for meaningful digital transformation of healthcare. As medical students need to navigate an increasingly digitalized healthcare environment, thus the study’s objective was to assess digital health literacy among medical students.
 Methods: This cross-sectional analytical study was conducted at King Edward Medical University, Lahore from October 2022 to August 2023. Medical students were asked to complete a pen and paper questionnaire of the Digital Health Literacy Instrument (DHLI) after informed consent. DHLI covers seven categories: operational skills, information searching strategy, analyzing the usefulness of online information, navigational abilities, contributing user-generated material to internet-based platforms, and privacy protection. SPSS was used for data analysis.
 Results: Eight hundred ninety one medical students, from first year to final year, participated in the study. The overall mean score for DHL was 63.5 (SD=8.82). Medical students achieved a score of 83.2% of total score in their operational abilities, and 82.3% proficiency in privacy protection, which were deemed highly desirable. Furthermore, they achieved a satisfactory level in navigation skill (76.0%), information searching (73.1%), adding content (71.0%), determining the significance of data (70.1%), and assessing data reliability (68.7%), based on the overall score. A significant relationship was observed between the performance level of DHL domains and gender with higher scores in males in all domains except protecting privacy, which was higher in females and clinical years students (p-value < 0.05).
 Conclusion: The assessment of the DHL of medical students was deemed desirable. But certain obstacles were encountered in few domains of DHL i.e., data reliability, relevance determination, and content augmentation. It is imperative to elevate the level of DHL of medical students to harness the potential of digital technologies in enhancing healthcare.
 doi: https://doi.org/10.12669/pjms.40.1.8711
 How to cite this: Farooq Z, Imran A, Imran N. Preparing for the future of healthcare: Digital health literacy among medical students in Lahore, Pakistan. Pak J Med Sci. 2024;40(1):---------. doi: https://doi.org/10.12669/pjms.40.1.8711
 This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

We would like to thank the following abstract graders for their invaluable time and effort in reviewing abstracts for Scientific Sessions 2011. Brian Abbott Friederike K. Keating Geoffrey Abbott John Kern Evan Abel Karl Kern Benjamin S. Abella Morton Kern Theodore Abraham Amit Khera William T. Abraham Raymond J. Kim Stephan Achenbach Sue Kimm Michael A. Acker Carey D. Kimmelstiel Michael J. Ackerman Jacobo Kirsch David H. Adams Joel Kirsh M. Jacob Adams Lorrie Kirshenbaum Ted Adams Raj Kishore Philip A. Ades Masafumi Kitakaze Gail K. Adler Andre Kleber Sunil K. Agarwal Neil S. Kleiman Frank Aguirre George J. Klein Masood Ahmad Helmut U. Klein Bina Ahmed Liviu Klein Gorav Ailawadi Robert A. Kloner Anthony Aizer Bjorn Knollmann Teiji Akagi Kirk Knowlton Fadi Akar Walter J. Koch Shahab Akhter Wolfgang Koenig Khatib Sana Al Stavros Konstantinides Mark J. Alberts Michael C. Kontos John H. Alexander Bruce A. Koplan Karen P. Alexander Gideon Koren Mo Ali Robert Kormos Larry A. Allen Jane M. Kotchen Norrina B. Allen Frederic Kraemer Matthew A. Allison Itzhak Kronzon Mouaz Al-Mallah Harlan M. Krumholz Diego Alvarez Helmut Kuecherer Aman M. Amanullah Aaron Kugelmass Giuseppe Ambrosio Johan Kuiper Amit P. Amin Marrick L. Kukin Philipe Amouyel Lewis H. Kuller Ezra Amsterdam Lih Kuo Inder S. Anand J. W. Kwang Paul Anaya Wai-meng Kwok Gregor Andelfinger Raymond Kwong Jeffrey Anderson Bonnie Ky Rob Andrews Daniel T. Lackland Stefan Anker Wyman Lai David Antoniucci John J. Lamberti Charles Antzelevitch Rachel J. Lampert Piero Anversa Roberto Lang Ani Anyanwu Alexandra Lansky Lawrence J. Appel Warren K. Laskey Juan Aranda Michael Lauer Paul W. Armstrong Harold L. Lazar Suzanne Arnold Eric Lazartigues James Arrighi Ngoc Anh Le James. Arrowood Linda Leatherbury Takayuki Asahara Jonathan W. Lederer Deborah D. Ascheim Byron K. Lee Euan Ashley Christopher Lee Muhammad Ashraf Richard Lee Samuel Asirvatham Vivien Lee Saira Aslam David J. Lefer Dan Atar Thierry Lefevre Dianne L. Atkins Carl V. Leier Pavan Atluri Larry Leiter Andrew M. Atz Thierry LeJemtel John A. Auchampach Scott Lemaire John Augoustides Robert Lemery Robert Augustyniak Isabelle Lemieux Gerard P. Aurigemma Terry A. Lennie Metin. Avkiran Martin Leon Leon Axel Dario Leosco Philip Aylward Stamatios Lerakis Arnold Baas Annarosa Leri Joseph D. Babb Amir Lerman V L. Babikian Israel E. Lev David Bach Sidney Levitsky Michael Bader Jerrold H. Levy Juan Jose Badimon Martin M. Lewinter Steven R. Bailey Ji Li Alison Baird Qian Hong Li Kenneth Baker Ren-Ke Li Robert Balaban Xia Li Sameer Bansilal James K. Liao Lili A.. Barouch Ronglih Liao Gregory W. Barsness Alice H. Lichtenstein Robyn Barst David S. Liebeskind Philip Barter Chee Lim Matthias Barton Joao A. Lima Jozef Bartunek Marian Limacher Craig Todd Basson Michael A. Lincoff Eric R. Bates cecilia Linde Jeroen Bax Jonathan Lindner Christoph R. 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Mitchell Hunter Champion Suneet Mittal Kwan Chan Derek Mittleider Paul S. Chan Peter Mohler Krishnaswamy Chandrasekaran Friedrich Mohr Byung-Chul Chang David Moliterno Gene Chang Kevin Monahan Mary Y. Chang Marc Moon Panithaya Chareonthaitawee Michael A. Moore Israel Charo Fred Morady Seemant Chaturvedi Henning Morawietz Farooq Chaudhry Carlos A. Morillo Jersey Chen David Morrow Jonathan Chen Debra K. Moser Ju Chen Martin Moser Peng-Sheng Chen Arthur J. Moss Xiongwen Chen Jochen Muehlschlegel Yeong-renn Chen Kenneth J. Mukamal Alan Cheng Sharon L. Mulvagh Stanley Chetcuti Srinivas Murali Joseph Cheung Anne M. Murphy Yung-wei Chi Elizabeth Murphy Nipavan Chiamvimonvat Ralph Nachman William Chilian Vinay Nadkarni Michael Chin Sherif Nagueh Julio Chirinos Srihari Naidu Yeon H. Choe Yoshifumi Naka Geir Christensen Sanjiv M. Narayan Sumeet Chugh Andrea Natale Mina Chung Stanley Nattel Timothy Church Mohamad Navab Nadine Clausell L Gabriel Navar David Cohen Saman Nazarian Jerome D. 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Pina Isabelle Deschenes Duane Pinto Jean-Pierre Despres Maria Vittoria Pitzalis Naranjan Dhalla Paul Poirier David Dichek Don Poldermans Gregory Dick Jennifer S. Pollock Timm Dickfeld Piotr Ponikowski Kenneth Dickstein Athena Poppas Sean P. Didion Thomas R. Porter Javier Díez Michael Portman Vasken Dilsizian Mark J. Post J. Michael DiMaio Wendy Post John DiMarco Bunny J. Pozehl Stefanie Dimmeler Ashwin Prakash Thomas G. Disalvo J Howard Pratt Daniel J. Diver Susan Pressler Debra I. Diz Silvia G. Priori Lynn V. Doering Eric N. Prystowsky Feng Dong Lu Qi Michael Donino Gangjian Qin Thomas J. Donohue Federico Quaini Gerald Dorn II Arshed Ali Quyyumi David Dostal Philip Raake Mark Drazner Joseph Rabinowitz Barbara J. Drew Glenn Radice Daniel L. Dries Wolfgang A.K. Radtke Xiaoping Du Gilbert Raff Samuel Dudley Shahbudin H. Rahimtoola Barton Duell Leopoldo Raij Srinivas Dukkipati Danny Ramzy Sandra Dunbar Sunil V. 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Ross Sergio Fazio Noreen Rossi Savitri Fedson Daniel G. Rowland Kenneth Feingold Denis Roy Steven Feinstein Yoseph. Rozenman Frederick Feit Melvyn Rubenfire David Feldman Frederick L. Ruberg Michael Felker Ronen Rubinshtein Michael A. Fifer Marc Ruel Gerasimos S. Filippatos Xiao Ruiping Gregory D. Fink Carlos E. Ruiz Peter Fischbach John S. Rumsfeld Tim Fischell Raymond Russell Avi fischer Martin K. Rutter Jens Fischer Michael Ryan John Fisher Catherine Ryan Jerome Fleg Joseph Sabik John Floras Craig Sable Mark A. Fogel Junichi Sadoshima Gregg C. Fonarow Jeffrey E. Saffitz Myriam Fornage Kiran B. Sagar Elyse Foster David J. Sahn Caroline S. Fox Arwa Saidi Gary S. Francis Shuichi Saito Barry Franklin Hajime Sakuma Stanley S. Franklin Adam C. Salisbury John K. French Habib Samady Matthias G. Friedrich Prashanthan Sanders James Froehlich Stephen Sanders Victor Froelicher John L. Sapp Toshiro Fujita Muhamed Saric Keiichi Fukuda Comilla Sasson William H. 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Hill Rhian Touyz Michael Hill Dwight Towler Yoshitaka Hirooka Richard Troughton Irl Hirsch Teresa Tsang Michael Ho Sotirios Tsimikas Vincent B. Ho Jonathan Tune Udo Hoffmann James E. Udelson Brian D. Hoit Philip C. Ursell Maureen Hood Karen Uzark John D. Horowitz Alec Vahanian Steven R. Houser Anne Marie Valente Henry H. Hsia Marco Valgimigli Eileen Hsich Eyk Jennifer Van Daphne T. Hsu Horn Linda Van Spencer C. Huang Heide Richard Vander Sally A. Huber Dorothy Vatner Michael P. Hudson Stephen F. Vatner Mark Huffman Emir Veledar William Hundley Lakshmi Venkitachalam Judy Hung Hector O. Ventura Judy Hung Ralph Verdino Paul M. Hwang Giovanni Veronesi Guido Iaccarino Renu Virmani Ahamed H. Idris Robert A. Vogel John Ikonomidis Jens Vogel-Claussen Erik Ingelsson Adriaan Voors Joanne S. Ingwall Saroja Voruganti Paul A. Insel Raju Vulapalli Joseph Izzo Mary B. Wagner Alice K. Jacobs Ron Waksman Jill Jacobs Andrew Wang Terry A. Jacobson Tracy Wang Michael Jaff Xuejun Wang Allan Jaffe Cary C. Ward Mukesh Jain Carole Warnes Ik-Kyung Jang Keith A. Webster Paul Janssen Dorothee. Weihrauch James Januzzi William Weintraub Valluvan Jeevanandam Neil J. Weissman Nancy S. Jenny Cornelia Weyand Allen Jeremias Grayson Wheatley Michael Jerosh-Herold David Whellan Michael Jessen Samuel A. Wickline Michael Jessen Martin Wilkins Ishwarlal Jialal Stephen D. Wiviott Bingbing Jiang Michael Wolin Kai Jiao Kai C. Wollert Suk-Won Jin Anna Woo Roy John Mary Woo Andrew Johnson Y Joseph Woo Jason L. Johnson Malissa Wood W. Schuyler Jones Marcella A. Wozniak Pedro Jose Joseph C. Wu Jerome Jouan Joseph C. Wu Corrine Jurgens Katherine Wu Edmond Kabagambe Sean M. Wu Alan H. Kadish George Wyse Mark Kahn Chen Yan Jan Kajstura Yu Yan Sanjeeva Kalva Demetris Yannopoulos Michael Kapiloff Karen S. Yehle Norman Kaplan Liya Yin Navin Kapur James B. Young Hrayr Karagueuzian Chun Yuan Richard H. Karas Doron Zahger Joel Karliner Mengwei Zang Edward Kasper Julie J. 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Abbara, Suhny Georgiou, Demetrios naka, yoshifumi Abbott, Brian Gerszten, Robert Nakagawa, Yoshihisa Abbott, Geoffrey . Gewillig, Marc Nakamura, Kazufumi Abe, Jun-ichi Ghali, Jalal K. Nakamura, Yasuyuki Abella, Benjamin S. Ghanayem, Nancy Nakanishi, Toshio Abraham, Theodore Ghanayem, Nancy Nakatani, Toshio Abraham, William T. Ghosh, Shobha Narayan, Sanjiv M. Achenbach, Stephan Giachelli, Cecilia M. Natale, Andrea Acker, Michael A. Gidding, Samuel S. Natarajan, Rama Ackerman, Michael J. Gidding, Samuel S. Nattel, Stanley Adams, M. Jacob Gilchrist, Ian Nazarian, Saman Adams, Ted Giles, Thomas D. Nerbonne, Jeanne Ades, Philip A. Gimple, Lawrence W.. Neubauer, Stefan Adler, Gail K. Gitt, Anselm K. Neumar, Robert Aguirre, Frank Giugliano, Robert P. Newton-Cheh, Christopher Ahmed, Bina Glatter, Kathy Nichol, Graham Aizawa, Yoshifusa Glembotski, Christopher Nichols, Colin G. Aizer, Anthony Glower, Donald D. Nikolaou, Konstantin Akagi, Teiji Gogo, Prospero B. 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Ubiquitous in airports, border checkpoints, and other securitised spaces throughout the world, full-body imaging scanners claim to read bodies in order to identify if they pose security threats. Millimetre-wave body imaging machines—the most common type of body scanner—display to the operating security agent a screen with a generic body outline. If an anomaly is found or if an individual does not align with the machine’s understanding of an “average” body, a small box is highlighted and placed around the “problem” area, prompting further inspection in the form of pat-downs or questioning. In this complex security regime governed by such biometric, body-based technologies, it could be argued that nonalignment with bodily normativity as well as an attendant failure to reveal oneself—to become “transparent” (Hall 295)—marks a body as dangerous. As these algorithmic technologies become more pervasive, so too does the imperative to critically examine their purported neutrality and operative logic of revelation and readability.Biometric technologies are marketed as excavators of truth, with their optic potency claiming to demask masquerading bodies. Failure and bias are, however, an inescapable aspect of such technologies that work with narrow parameters of human morphology. Indeed, surveillance technologies have been taken to task for their inherent racial and gender biases (Browne; Pugliese). Facial recognition has, for example, been critiqued for its inability to read darker skin tones (Buolamwini and Gebru), while body scanners have been shown to target transgender bodies (Keyes; Magnet and Rodgers; Quinan). Critical security studies scholar Shoshana Magnet argues that error is endemic to the technological functioning of biometrics, particularly since they operate according to the faulty notion that bodies are “stable” and unchanging repositories of information that can be reified into code (Magnet 2).Although body scanners are presented as being able to reliably expose concealed weapons, they are riddled with incompetencies that misidentify and over-select certain demographics as suspect. Full-body scanners have, for example, caused considerable difficulties for transgender travellers, breast cancer patients, and people who use prosthetics, such as artificial limbs, colonoscopy bags, binders, or prosthetic genitalia (Clarkson; Quinan; Spalding). While it is not in the scope of this article to detail the workings of body imaging technologies and their inconsistencies, a growing body of scholarship has substantiated the claim that these machines unfairly impact those identifying as transgender and non-binary (see, e.g., Beauchamp; Currah and Mulqueen; Magnet and Rogers; Sjoberg). Moreover, they are constructed according to a logic of binary gender: before each person enters the scanner, transportation security officers must make a quick assessment of their gender/sex by pressing either a blue (corresponding to “male”) or pink (corresponding to “female”) button. In this sense, biometric, computerised security systems control and monitor the boundaries between male and female.The ability to “reveal” oneself is henceforth predicated on having a body free of “abnormalities” and fitting neatly into one of the two sex categorisations that the machine demands. Transgender and gender-nonconforming individuals, particularly those who do not have a binary gender presentation or whose presentation does not correspond to the sex marker in their documentation, also face difficulties if the machine flags anomalies (Quinan and Bresser). Drawing on a Foucauldian analysis of power as productive, Toby Beauchamp similarly illustrates how surveillance technologies not only identify but also create and reshape the figure of the dangerous subject in relation to normative configurations of gender, race, and able-bodiedness. By mobilizing narratives of concealment and disguise, heightened security measures frame gender nonconformity as dangerous (Beauchamp, Going Stealth). Although national and supranational authorities market biometric scanning technologies as scientifically neutral and exact methods of identification and verification and as an infallible solution to security risks, such tools of surveillance are clearly shaped by preconceptions and prejudgements about race, gender, and bodily normativity. Not only are they encoded with “prototypical whiteness” (Browne) but they are also built on “grossly stereotypical” configurations of gender (Clarkson).Amongst this increasingly securitised landscape, creative forms of artistic resistance can offer up a means of subverting discriminatory policing and surveillance practices by posing alternate visualisations that reveal and challenge their supposed objectivity. In his 2018 audio-video artwork installation entitled SANCTUM, UK-based American artist Zach Blas delves into how biometric technologies, like those described above, both reveal and (re)shape ontology by utilising the affectual resonance of sexual submission. Evoking the contradictory notions of oppression and pleasure, Blas describes SANCTUM as “a mystical environment that perverts sex dungeons with the apparatuses and procedures of airport body scans, biometric analysis, and predictive policing” (see full description at https://zachblas.info/works/sanctum/).Depicting generic mannequins that stand in for the digitalised rendering of the human forms that pass through body scanners, the installation transports the scanners out of the airport and into a queer environment that collapses sex, security, and weaponry; an environment that is “at once a prison-house of algorithmic capture, a sex dungeon with no genitals, a weapons factory, and a temple to security.” This artistic reframing gestures towards full-body scanning technology’s germination in the military, prisons, and other disciplinary systems, highlighting how its development and use has originated from punitive—rather than protective—contexts.In what follows, we adopt a methodological approach that applies visual analysis and close reading to scrutinise a selection of scenes from SANCTUM that underscore the sadomasochistic power inherent in surveillance technologies. Analysing visual and aural elements of the artistic intervention allows us to complicate the relationship between transparency and recognition and to problematise the dynamic of mandatory complicity and revelation that body scanners warrant. In contrast to a discourse of visibility that characterises algorithmically driven surveillance technology, Blas suggests opacity as a resistance strategy to biometrics' standardisation of identity. Taking an approach informed by critical security studies and queer theory, we also argue that SANCTUM highlights the violence inherent to the practice of reducing the body to a flat, inert surface that purports to align with some sort of “core” identity, a notion that contradicts feminist and queer approaches to identity and corporeality as fluid and changing. In close reading this artistic installation alongside emerging scholarship on the discriminatory effects of biometric technology, this article aims to highlight the potential of art to queer the supposed objectivity and neutrality of biometric surveillance and to critically challenge normative logics of revelation and readability.Corporeal Fetishism and Body HorrorThroughout both his artistic practice and scholarly work, Blas has been critical of the above narrative of biometrics as objective extractors of information. Rather than looking to dominant forms of representation as a means for recognition and social change, Blas’s work asks that we strive for creative techniques that precisely queer biometric and legal systems in order to make oneself unaccounted for. For him, “transparency, visibility, and representation to the state should be used tactically, they are never the end goal for a transformative politics but are, ultimately, a trap” (Blas and Gaboury 158). While we would simultaneously argue that invisibility is itself a privilege that is unevenly distributed, his creative work attempts to refuse a politics of visibility and to embrace an “informatic opacity” that is attuned to differences in bodies and identities (Blas).In particular, Blas’s artistic interventions titled Facial Weaponization Suite (2011-14) and Face Cages (2013-16) protest against biometric recognition and the inequalities that these technologies propagate by making masks and wearable metal objects that cannot be detected as human faces. This artistic-activist project contests biometric facial recognition and their attendant inequalities by, as detailed on the artist’s website,making ‘collective masks’ in workshops that are modelled from the aggregated facial data of participants, resulting in amorphous masks that cannot be detected as human faces by biometric facial recognition technologies. The masks are used for public interventions and performances.One mask explores blackness and the racist implications that undergird biometric technologies’ inability to detect dark skin. Meanwhile another mask, which he calls the “Fag Face Mask”, points to the heteronormative underpinnings of facial recognition. Created from the aggregated facial data of queer men, this amorphous pink mask implicitly references—and contests—scientific studies that have attempted to link the identification of sexual orientation through rapid facial recognition techniques.Building on this body of creative work that has advocated for opacity as a tool of social and political transformation, SANCTUM resists the revelatory impulses of biometric technology by turning to the use and abuse of full-body imaging. The installation opens with a shot of a large, dark industrial space. At the far end of a red, spotlighted corridor, a black mask flickers on a screen. A shimmering, oscillating sound reverberates—the opening bars of a techno track—that breaks down in rhythm while the mask evaporates into a cloud of smoke. The camera swivels, and a white figure—the generic mannequin of the body scanner screen—is pummelled by invisible forces as if in a wind tunnel. These ghostly silhouettes appear and reappear in different positions, with some being whipped and others stretched and penetrated by a steel anal hook. Rather than conjuring a traditional horror trope of the body’s terrifying, bloody interior, SANCTUM evokes a new kind of feared and fetishized trope that is endemic to the current era of surveillance capitalism: the abstracted body, standardised and datafied, created through the supposedly objective and efficient gaze of AI-driven machinery.Resting on the floor in front of the ominous animated mask are neon fragments arranged in an occultist formation—hands or half a face. By breaking the body down into component parts— “from retina to fingerprints”—biometric technologies “purport to make individual bodies endlessly replicable, segmentable and transmissible in the transnational spaces of global capital” (Magnet 8). The notion that bodies can be seamlessly turned into blueprints extracted from biological and cultural contexts has been described by Donna Haraway as “corporeal fetishism” (Haraway, Modest). In the context of SANCTUM, Blas illustrates the dangers of mistaking a model for a “concrete entity” (Haraway, “Situated” 147). Indeed, the digital cartography of the generic mannequin becomes no longer a mode of representation but instead a technoscientific truth.Several scenes in SANCTUM also illustrate a process whereby substances are extracted from the mannequins and used as tools to enact violence. In one such instance, a silver webbing is generated over a kneeling figure. Upon closer inspection, this geometric structure, which is reminiscent of Blas’s earlier Face Cages project, is a replication of the triangulated patterns produced by facial recognition software in its mapping of distance between eyes, nose, and mouth. In the next scene, this “map” breaks apart into singular shapes that float and transform into a metallic whip, before eventually reconstituting themselves as a penetrative douche hose that causes the mannequin to spasm and vomit a pixelated liquid. Its secretions levitate and become the webbing, and then the sequence begins anew.In another scene, a mannequin is held upside-down and force-fed a bubbling liquid that is being pumped through tubes from its arms, legs, and stomach. These depictions visualise Magnet’s argument that biometric renderings of bodies are understood not to be “tropic” or “historically specific” but are instead presented as “plumbing individual depths in order to extract core identity” (5). In this sense, this visual representation calls to mind biometrics’ reification of body and identity, obfuscating what Haraway would describe as the “situatedness of knowledge”. Blas’s work, however, forces a critique of these very systems, as the materials extracted from the bodies of the mannequins in SANCTUM allude to how biometric cartographies drawn from travellers are utilised to justify detainment. These security technologies employ what Magnet has referred to as “surveillant scopophilia,” that is, new ways and forms of looking at the human body “disassembled into component parts while simultaneously working to assuage individual anxieties about safety and security through the promise of surveillance” (17). The transparent body—the body that can submit and reveal itself—is ironically represented by the distinctly genderless translucent mannequins. Although the generic mannequins are seemingly blank slates, the installation simultaneously forces a conversation about the ways in which biometrics draw upon and perpetuate assumptions about gender, race, and sexuality.Biometric SubjugationOn her 2016 critically acclaimed album HOPELESSNESS, openly transgender singer, composer, and visual artist Anohni performs a deviant subjectivity that highlights the above dynamics that mark the contemporary surveillance discourse. To an imagined “daddy” technocrat, she sings:Watch me… I know you love me'Cause you're always watching me'Case I'm involved in evil'Case I'm involved in terrorism'Case I'm involved in child molestersEvoking a queer sexual frisson, Anohni describes how, as a trans woman, she is hyper-visible to state institutions. She narrates a voyeuristic relation where trans bodies are policed as threats to public safety rather than protected from systemic discrimination. Through the seemingly benevolent “daddy” character and the play on ‘cause (i.e., because) and ‘case (i.e., in case), she highlights how gender-nonconforming individuals are predictively surveilled and assumed to already be guilty. Reflecting on daddy-boy sexual paradigms, Jack Halberstam reads the “sideways” relations of queer practices as an enactment of “rupture as substitution” to create a new project that “holds on to vestiges of the old but distorts” (226). Upending power and control, queer art has the capacity to both reveal and undermine hegemonic structures while simultaneously allowing for the distortion of the old to create something new.Employing the sublimatory relations of bondage, discipline, sadism, and masochism (BDSM), Blas’s queer installation similarly creates a sideways representation that re-orientates the logic of the biometric scanners, thereby unveiling the always already sexualised relations of scrutiny and interrogation as well as the submissive complicity they demand. Replacing the airport environment with a dark and foreboding mise-en-scène allows Blas to focus on capture rather than mobility, highlighting the ways in which border checkpoints (including those instantiated by the airport) encourage free travel for some while foreclosing movement for others. Building on Sara Ahmed’s “phenomenology of being stopped”, Magnet considers what happens when we turn our gaze to those “who fail to pass the checkpoint” (107). In SANCTUM, the same actions are played out again and again on spectral beings who are trapped in various states: they shudder in cages, are chained to the floor, or are projected against the parameters of mounted screens. One ghostly figure, for instance, lies pinned down by metallic grappling hooks, arms raised above the head in a recognisable stance of surrender, conjuring up the now-familiar image of a traveller standing in the cylindrical scanner machine, waiting to be screened. In portraying this extended moment of immobility, Blas lays bare the deep contradictions in the rhetoric of “freedom of movement” that underlies such spaces.On a global level, media reporting, scientific studies, and policy documents proclaim that biometrics are essential to ensuring personal safety and national security. Within the public imagination, these technologies become seductive because of their marked ability to identify terrorist attackers—to reveal threatening bodies—thereby appealing to the anxious citizen’s fear of the disguised suicide bomber. Yet for marginalised identities prefigured as criminal or deceptive—including transgender and black and brown bodies—the inability to perform such acts of revelation via submission to screening can result in humiliation and further discrimination, public shaming, and even tortuous inquiry – acts that are played out in SANCTUM.Masked GenitalsFeminist surveillance studies scholar Rachel Hall has referred to the impetus for revelation in the post-9/11 era as a desire for a universal “aesthetics of transparency” in which the world and the body is turned inside-out so that there are no longer “secrets or interiors … in which terrorists or terrorist threats might find refuge” (127). Hall takes up the case study of Umar Farouk Abdulmutallab (infamously known as “the Underwear Bomber”) who attempted to detonate plastic explosives hidden in his underwear while onboard a flight from Amsterdam to Detroit on 25 December 2009. Hall argues that this event signified a coalescence of fears surrounding bodies of colour, genitalia, and terrorism. News reports following the incident stated that Abdulmutallab tucked his penis to make room for the explosive, thereby “queer[ing] the aspiring terrorist by indirectly referencing his willingness … to make room for a substitute phallus” (Hall 289). Overtly manifested in the Underwear Bomber incident is also a desire to voyeuristically expose a hidden, threatening interiority, which is inherently implicated with anxieties surrounding gender deviance. Beauchamp elaborates on how gender deviance and transgression have coalesced with terrorism, which was exemplified in the wake of the 9/11 attacks when the United States Department of Homeland Security issued a memo that male terrorists “may dress as females in order to discourage scrutiny” (“Artful” 359). Although this advisory did not explicitly reference transgender populations, it linked “deviant” gender presentation—to which we could also add Abdulmutallab’s tucking of his penis—with threats to national security (Beauchamp, Going Stealth). This also calls to mind a broader discussion of the ways in which genitalia feature in the screening process. Prior to the introduction of millimetre-wave body scanning technology, the most common form of scanner used was the backscatter imaging machine, which displayed “naked” body images of each passenger to the security agent. Due to privacy concerns, these machines were replaced by the scanners currently in place which use a generic outline of a passenger (exemplified in SANCTUM) to detect possible threats.It is here worth returning to Blas’s installation, as it also implicitly critiques the security protocols that attempt to reveal genitalia as both threatening and as evidence of an inner truth about a body. At one moment in the installation a bayonet-like object pierces the blank crotch of the mannequin, shattering it into holographic fragments. The apparent genderlessness of the mannequins is contrasted with these graphic sexual acts. The penetrating metallic instrument that breaks into the loin of the mannequin, combined with the camera shot that slowly zooms in on this action, draws attention to a surveillant fascination with genitalia and revelation. As Nicholas L. Clarkson documents in his analysis of airport security protocols governing prostheses, including limbs and packies (silicone penis prostheses), genitals are a central component of the screening process. While it is stipulated that physical searches should not require travellers to remove items of clothing, such as underwear, or to expose their genitals to staff for inspection, prosthetics are routinely screened and examined. This practice can create tensions for trans or disabled passengers with prosthetics in so-called “sensitive” areas, particularly as guidelines for security measures are often implemented by airport staff who are not properly trained in transgender-sensitive protocols.ConclusionAccording to media technologies scholar Jeremy Packer, “rather than being treated as one to be protected from an exterior force and one’s self, the citizen is now treated as an always potential threat, a becoming bomb” (382). Although this technological policing impacts all who are subjected to security regimes (which is to say, everyone), this amalgamation of body and bomb has exacerbated the ways in which bodies socially coded as threatening or deceptive are targeted by security and surveillance regimes. Nonetheless, others have argued that the use of invasive forms of surveillance can be justified by the state as an exchange: that citizens should willingly give up their right to privacy in exchange for safety (Monahan 1). Rather than subscribing to this paradigm, Blas’ SANCTUM critiques the violence of mandatory complicity in this “trade-off” narrative. Because their operationalisation rests on normative notions of embodiment that are governed by preconceptions around gender, race, sexuality and ability, surveillance systems demand that bodies become transparent. This disproportionally affects those whose bodies do not match norms, with trans and queer bodies often becoming unreadable (Kafer and Grinberg). The shadowy realm of SANCTUM illustrates this tension between biometric revelation and resistance, but also suggests that opacity may be a tool of transformation in the face of such discriminatory violations that are built into surveillance.ReferencesAhmed, Sara. “A Phenomenology of Whiteness.” Feminist Theory 8.2 (2007): 149–68.Beauchamp, Toby. “Artful Concealment and Strategic Visibility: Transgender Bodies and U.S. State Surveillance after 9/11.” Surveillance & Society 6.4 (2009): 356–66.———. Going Stealth: Transgender Politics and U.S. Surveillance Practices. 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