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The generativity of the Polaroid 665 negative in Volcano’s hands is not purely photographic; it is also affective. The artist appreciates the symbolic dimension of the unusual process and exploits it, explaining “I used Polaroid negative/positive film to mirror my feelings about my embodiment.” (Volcano 2012). What are the stakes, and what are the consequences, of a (photographic) negative generating and reflecting the artist’s self-image?

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