Critical engagement with spaces of exposure is an important research agenda in the contemporary social sciences and humanities. Developing and extending this agenda, this paper offers an account of how scenes of exposure at border zones are mediated materially, aesthetically, and politically by forms of envelopment. Specifically, it discusses the geographies of exposure and envelopment that unfold through the use and re‐use of the emergency blanket at these zones. Fabricated from metallised polymer films, emergency blankets are used commonly to provide thermal protection for bodies at risk of exposure in a range of situations. More than functional, however, these objects also have a distinctive aesthetic allure. By attending to the material and aesthetic qualities of the emergency blanket, this paper explores its visibility and significance in scenes of exposure at border zones. Highlighting how the blanket is deployed as a device of minimal comfort, the paper then considers artistic works that repurpose this object as part of a creative critique of conditions at these zones. Drawing on the work of Stacy Alaimo and Ronak Kapadia, among others, the paper develops the concept of insurgent envelopment to understand how artists use the emergency blanket in works that simultaneously foreground, disrupt, and reimagine relations between exposure and envelopment.

中文翻译：

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叛乱分子包围：边境地区的紧急毯子和暴露场景

对暴露空间的批判性参与是当代社会科学和人文学科的一个重要研究议程。为了发展和扩展这一议程，本文阐述了边境地区的暴露场景如何通过包围形式在物质、美学和政治上进行调节。具体来说，它讨论了通过在这些区域使用和重复使用应急毯而展开的暴露和包围的地理情况。应急毯由金属化聚合物薄膜制成，通常用于为在各种情况下有暴露风险的身体提供热保护。然而，除了功能之外，这些物品还具有独特的审美吸引力。本文通过关注应急毯的材料和美学品质，探讨了它在边境地区暴露场景中的可见性和意义。本文重点介绍了毯子如何被用作最低舒适度的装置，然后考虑了重新利用该物体的艺术作品，作为对这些区域条件的创造性批判的一部分。本文借鉴了史黛西·阿莱莫（Stacy Alaimo）和罗纳克·卡帕迪亚（Ronak Kapadia）等人的作品，提出了叛乱包围的概念，以理解艺术家如何在作品中使用紧急毯子，同时突出、破坏和重新想象暴露与包围之间的关系。