Oct 10, 2021
Com'è bello stare a leggere poesie in campagna e, nel frattempo, diventa tutto buio.
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Com'è bello stare a leggere poesie in campagna e, nel frattempo, diventa tutto buio.
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Clairvoyant Mallory
Is Mallory (of Greater Boston) prescient? Not with the tools and rituals of Third Sight Media, but with the intuition that disguises itself as chance and let’s her be in just the right place at the right time.
Mallory happens to be at every important event without really trying:
Leon’s death
Charlotte’s big rescue of parkour guy
Finds the molasses tank before anyone else
Hired by Nica when none of Nica’s friends even know where she is
There’s a reason Chuck Octagon keeps using Mallory as a source- she just happens to be everywhere and meet everyone important. None of the examples above were Mallory deliberately searching/seeking that target. For example, She was only at the red line (bullet point 2) because her original plans fell apart.
But here’s the piece of evidence I like best: Mallory’s nickname for Dipshit is “Dippity Douche.” This generally fits her nickname MO: exaggerated yet completely accurate. But this nickname is bestowed before he calls himself Dipshit (he’s EE at the time). And yet, it is:
Incredibly phonetically/alliteratively similar
Accounts for the general negativity of ‘Dipshit’
Also fits the commune’s gentler nickname: Dippy
Psychic Mallory? Psychic Mallory.
#MalloryisMorePsychicThanPoletti2018
C’era scritto CV qualcosa.
#Poletti, trovare lavoro? "Meglio il calcetto dei curricula". Ecco la squadra ideale.
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WORKS CITED
Frosh, Paul. “The Gestural Image: The Selfie, Photography Theory, and Kinesthetic Sociability.” International Journal of Communication, January 2015, p. 1607.
Hjorth, Larissa, and Kathleen Mae Cumiskey. “Mobiles Facing Death: Affective Witnessing and the Intimate Companionship of Devices.” Cultural Studies Review, vol. 24, no. 2, 10 October 2018, pp. 166–180, https://doi.org/10.5130/csr.v24i2.6079.
Poletti, Anna. “Biomediations.” Stories of the Self: Life Writing after the Book, New York University Press, 2020, pp. 1-25
Richardson, Michael, and Kerstin Schankweiler. “Introduction: Affective Witnessing as Theory and Practice.” Parallax, vol. 26, no. 3, 2 July 2020, pp. 235–253, https://doi.org/10.1080/13534645.2021.1883301.
Senft, Theresa M, and Nancy K Baym. “What Does the Selfie Say? Investigating a Global Phenomenon: Introduction.” International Journal of Communication, May 2015, pp. 1588-1606.
Tran, Christine, and Jess Rauchberg. “Hope, Cope & Scroll: Sifting Down the Tea Leaves of Algorithmic Recommendation.” ASAP Reviews, October 2025. https://asapjournal.com/node/hope-cope-scroll-sifting-down-the-tea-leaves-of-algorithmic-recommendation/
Yadlin-Segal, Aya. “What’s in a Smile? Politicizing Disability Through Selfies and Affect.” Journal of Computer-Mediated Communication, vol. 24, no. 1, 5 December 2018, pp. 36–50, https://doi.org/10.1093/jcmc/zmy023.
DIGITAL VISIBILITY
The ongoing internet blackout in Iran, which began in January 2026, gave rise to hashtags and phrases such as “#BeTheirVoice” and “Be his/her voice.” These hashtags address and mediate the same issues surrounding visibility and acceptability that Poletti raises, such as “what allows a life to become visible in its precariousness and its need[?]” and “what is it that keeps us from seeing or understanding lives in this way?” (Butler qtd. in Poletti 11). Poletti also raises “the urgent ethical and political question of why it is that the exposure of some populations to death is considered an acceptable political reality” (12). Social media users use the phrase “be his/her voice” to draw attention to the voicelessness of Iranian citizens while also participating in a form of political resistance against the Iranian regime. These hashtags often accompany the names of executed or to-be-executed victims of the Iranian government. Attaching the phrase “be his/her voice” to photos of political prisoners and providing their individual identification underlines the global and moral responsibility of viewers to acknowledge Iran’s violation of human rights, witness the humanity of the victims, and confront their personal understanding of who deserves representation and whether they are willing to accept the fact that these victims deserve visibility and representation. “Be his/her voice” forces the viewer to confront their positionality and decide whether to continue being a spectator to or a participant in value-making.
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