This paper draws from the art produced in the Cell Count archive, a quarterly bulletin that the Prisoners’ Human Immunodeficiency Virus (HIV)/Acquired Immunodeficiency Syndrome (AIDS) Support Action Network distributes to persons incarcerated in Canadian prisons. The authors use necropolitical theory to undertake a content analysis of prisoner art to gain insights into how carceral life affects the incarcerated. Specifically, prisoners convey prisons as death-worlds. The mass incarceration practices, which are a mechanism of settler colonialism and white supremacy, strip populations down to bare life. First, prisoners depict their carceral experience as a kind of slow, protracted process of dying. Second, they describe themselves using imagery of the dead. Third, they explore notions of escape or release through an angelic or spiritual afterlife.

中文翻译：

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“我坐在这个阴暗的地穴中”：加拿大墓地墓地的内幕解读

本文取材于 Cell Count 档案中的艺术作品，这是囚犯人类免疫缺陷病毒 (HIV)/获得性免疫缺陷综合症 (AIDS) 支持行动网络向加拿大监狱中的被监禁人员分发的季度公告。作者使用亡灵政治理论对囚犯艺术进行内容分析，以深入了解监狱生活如何影响被监禁者。具体而言，囚犯将监狱视为死亡世界。大规模监禁实践是定居者殖民主义和白人至上主义的一种机制，将人口剥离到赤裸裸的生活。首先，囚犯将他们的监禁经历描述为一种缓慢而持久的死亡过程。其次，他们使用死者的图像来描述自己。第三，他们探索通过天使或精神来世逃脱或释放的概念。