Indigenous photobomb memes emerged on social networks as a media practice alongside contemporary activist campaigns, where artists insert pop culture content into digitized ethnographic photographs already in use as mainstream meme fodder. This article takes a materialist approach to such memes to explore how the technical processes of digital image editing function ideologically. Meme series by Kiowa-Choctaw artist Steven Paul Judd and others illustrate how compositing methods like cloning and healing tools may disrupt ethnographic photographs’ claims to history, interrogating the aesthetic systems that underwrite settler-colonial media. As these algorithmic processes remediate the digitized image and re-situate it relative to other photoshopping practices, they bear a trace of settler digitality that allows such memes to intervene in current cultural debates and aesthetic trends. Circulation via social media generates a web of twice-remediated memes, which always refer back to their prior analog and digital iterations.

在社会网络上，土著光弹模因和当代激进主义者的运动一起作为一种媒体实践出现在社交网络上，艺术家将流行文化内容插入已经用作主流模因饲料的数字化人种志照片中。本文对这种模因采取了唯物主义的方法，以探讨数字图像编辑的技术过程如何在意识形态上起作用。乔瓦·乔克托（Kiowa-Choctaw）艺术家史蒂芬·保罗·贾德（Steven Paul Judd）等人的《迷因》系列说明，诸如克隆和修复工具之类的合成方法如何破坏人种学照片对历史的主张，审视支撑殖民者殖民媒体的审美体系。由于这些算法流程会修复数字化图像并相对于其他照相购物实践将其重新放置，他们带有定居者数字化的痕迹，可以使这些模因介入当前的文化辩论和审美趋势。通过社交媒体传播产生了两次被修正的模因网，这些模因总是回溯到它们先前的模拟和数字迭代。