SPRING 2021 FINAL PROJECTS: After Atlanta by Aditi Madhok

This past year has been tragic and traumatic for the losses in the ADIPA community in being victims of hate crimes during COVID. Among this sensationalization, garnered media attention by popular news stations, and an infographic industrial complex, I ask: What is the right method, the call for action? How do I bridge the gap between medium and content? Who is the audience and how can it be based on affirmations?

Informed by place making and power mapping, I document the real-time targeting and recorded archives in the racism is contagious campaign with incidents of harassment tangential to my own story. In navigating and negotiating boundaries socially, emotionally, physically, the fixed points with changing levels of opacity contrasted to the flashing backgrounds serves as a warning to other women of color. It discusses the permanence of these past and future interactions, as well as the friction and tension that emerges from it.

Tracing the user’s mouse in an overlapping duality of day and night layers across multiple times/spaces debunks the myth that it is unsafe at a certain hour when it is happening regardless of time, and with slices from Bay to LA: regardless of space. The fast rhythmic sequencing is to refer to its momentary existence and a shifting process of why identity is organic to my environment, assimilating to the whiteness of what I consider to be my home. As I push and pull against belonging, the spatial tools of memory and reclamation of domination are modifying and transforming my journey through this world in being lost, found, and a place for liberation.

The geometric nested squares of Internalized values are representative of an intersectional Venn diagram where the pay for every dollar earned is related to workplace stratification of race, gender, and class. Fetishization has no age limit’s bar chart introduces another numerical factor through the randomized arrangement of the 7 women without revealing their names, lives, faces but instead bodies of younger and older adulthood in this area. Its comparative analysis is to move towards collective accountability that embraces needs-based intervention and cross-coalition building.

In the other pieces, I am drawing from a dataset related to population biology and cliodynamics about the seasonal nature of violence to create scatter plot, Bayesian, and vertex models. The cyclic peaks of these timelines is generative of an abacus for school shootings in Counting since our childhood and a heartbeat as divided by the text categories of racial/ethnic, political, and labor/economic motivations in Lining up close with one another. In Tip of the iceberg, the inverted ridges are the flipped result of white supremacy attacks whose stretch of anchored coordinates for signal vs noise are the cracks and fissures deeply felt by society. The transparency of the upside-down triangle pyramid hierarchy is an abstract version of the trauma-informed designs from community-based spaces about escalation, fragility, and how it functions.

In all, I was deliberate in my word choice for title captions by being forward and truthful without being vague, ambiguous, and pushing an agenda aggressively. The aesthetics aren’t desensitized but when formatted side by side, its relationship and interdependence with the shared simplicity, ambient but also cautiousness, and contemporary conceptual art edges bleeding into each other humanizes individuals while being subjective and holistic in its understanding. Rather than the mass produced memes, I avoided putting the dates, feedback, and its source that would be distracting from the message as an attempt to be more eloquent than Instagram filters or Pinterest.

Analyzing trends, exploring attitudes, and examining its increases or decreases, it is scaled according to granularity in what units are being measured and their dimensionality. Cohesively tying civic engagement with healing and self-validation, After Atlanta alludes to the lenses of the interpersonal, ideological, and institutional.

Aditi Madhok ’23 is a mixed-mediaworm from Bay Area, California who’s not using that word correctly. She overuses the notes app on her phone when reflecting about her generation, watches YouTube in 2x but doesn’t process it, and likes to claim to follow niche Medium publications. When she retires, she aspires to be a Twitter or Tumblr meme librarian, or contribute to the story development of a YA dystopian novel/TV show.

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