Is it possible to desert in a shooter game? Along this question, "How to Disappear" reflects on war and game, discipline and disobedience. For the history of defiance is as old as the history of war - and yet the act of desertion goes beyond the game's space of action. Shot in the martial yet picturesque war landscapes of the online shooter "Battlefield V", the hyperrealistic graphics become the backdrop for an essay-like narrative. The narrator's voice creates a crack through which physical-real realities penetrate the depoliticized fun stage of the game. Using performances and interventions in the digital battlefield, "How to Disappear" explores the scopes and limits of the audiovisual entertainment machine.

Is it possible to desert in a shooter game? Along this question, "How to Disappear" reflects on war and game, discipline and disobedience. For the history of defiance is as old as the history of war - and yet the act of desertion goes beyond the game's space of action. Shot in the martial yet picturesque war landscapes of the online shooter "Battlefield V", the hyperrealistic graphics become the backdrop for an essay-like narrative. The narrator's voice creates a crack through which physical-real realities penetrate the depoliticized fun stage of the game. Using performances and interventions in the digital battlefield, "How to Disappear" explores the scopes and limits of the audiovisual entertainment machine.

"Happy and Gay" is a revisionist history document reflecting the classic 1930's-styled cartoon musical misadventure. It's responding to this early animation era's acts of censorship, prejudice and stereotype through the placement of a simply positive representation of gay and lesbian characters into the narrative. Stereotypes are embedded as historical markers, contextualizing the conversion. This resulting representation means that this is document that could not have existed at the time it references.

"Happy and Gay" is a revisionist history document reflecting the classic 1930's-styled cartoon musical misadventure. It's responding to this early animation era's acts of censorship, prejudice and stereotype through the placement of a simply positive representation of gay and lesbian characters into the narrative. Stereotypes are embedded as historical markers, contextualizing the conversion. This resulting representation means that this is document that could not have existed at the time it references.