Reflecting on her transition into the world of 3D animation, artist, Clauda Hart, traces on her "pedagogical/political awakening" when she encountered the field's "hypermasculinist boys club." Hart discusses the role of the of gaming industry and the US Department of Defense in the development of 3D animation technology. She, also looks at the relationship between 3D animation engineering programs and what Timothy Lenoir calls the "military-entertainment-complex". Through her 3D animations, Hart subverts the subculture of male-dominated digitality through her incorporation of "unequivocal romantic imagery, predominantly of the 3D female figure, often nude, moving slowly and sensually" (91). Hart then extended her poetic aesthetic interventions by incorporating them into the pedagogical realm through the creation of video tutorials. "By using the same 3D medium to create figures that reference romantic femininity while eschewing ubiquitous strategies of speed and endgame shooter mentality [Hart posits a] feminine beauty and erotic sensualism as a kind of refusal" (92).