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second of fantasy.3 As a result of it’s performative, the automortographic act is akin to the aesthetic: its development permits an emotional projection (by self and different) and ruminations on mortality and the intersection of identification and neighborhood. As a substitute of counting on the logic of the mature self reflecting (on) the progress of the immature self, automortography reveals the self anticipating an impending loss of life and scripting the response of the posthumous viewers.















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