[...]of (not necessarily authentic) history, calling for the patina of history} ==> my recent scenic paintings --present--> *visual stream of consciousness* ~= diorama ~= to capture the essence of a practice interest optic episteme (--> establish a setting to get caught lured)
(in my work: assumption of)
symbolic use of visual elements --> collective consciousness + revitalized forms ==> vision of a larger culture : capturing a gestalt = everyone can understand
Shake, Rattle and Roll
romance, light sex, and comedy segments---laced in horror
(Tolentino)
horror genre
==> big young stars performing non-iconic roles
~= (analogue of [collective]) anxiety (of nation?) : making-do processes and mechanisms of ordinary people + imperative of profit and state formation
--> how (mis)governance get to be represented + how citizenry is enforced and embodied (at the ground level)
Philippines: from Marcos dictatorship --to--> neoliberalism: privatized, deregulated, commercialized, marketized public services
•Crane using psychoanalytical tropes --> horror = everyday terror
[*]horror: excessive communication
•Creed using trope of monstrous-feminine --> horror = gestalten deeds in adjection and castration
•Lim --> *horror = temporal critique* {fantastic local horror =/= historical time, supernaturalism, occult modes of thinking encoded in fantastic narratives}
[Bergson > Lim > Tolentino:] horror --> heterogeneous temporality, heteroglossia: multiple tongues, to disengage in certain (nation) formations
horrific real
translation of historical terror in filmic horror
historical real + filmic mobilization --render--> real as porous & artificial
horror --Tolentino--> transhistorical (transgressional) continuity of the project of desire & pleasure
--> masochistic viewing experience + trajectory of critique
(during Marcos order in Philippines -->) horror genre talks about the popular dialectics of the known & unknown, moral & immoral, inclusion & exclusion, defeat & triumph, struggle & redemption, normal & abnormal, reality & alternative realities, religious & secular
•horror provides a cultural trope for the imagination of the nation
anxious state in horror films --represent--> anxious state in ... (nation-formation, citizenship, etc.) --> irony: (the anxious state) it is not what it is
----> [*]viewing: a sadomasochistic act [you know it is frightful (or garbage) yet enjoy viewing (in KHM we called it hate-watching)] --> pervers pleasure ==> individual and social categories to remain constantly in a flux
intensification of anxiety ~=> carnavalesque moment of drawing pleasure
(in the film) history of a chosen local
logic of absence --> prohibitive history of violence + excess
ritual of horrific foregrounding
scene + coherence of meaning
*horror is performative : it needs to be restaged in order to be evocative of meaning*
sexualization of women integral to the genre of horror [aimed at its male audience, similar to Charmed]:
•sexy female leading role (in love triangle)
•man --> representing evil and underworld
•man --> representing true love (engaged in a battle for love + choice of the young woman, sexualized in the male contest)
•female viacera sucker --> female creatures need to show hidden skin [popular sex-oriented star --to--> female monstrous figure --allow--> display of prohibited body parts + heteronormative desire]
(female star rendered both strong and weak)
1. exposing and defying the horror figure (first)
2. embodying the horrific abject subject (second)
in the narrative of horror
•the moral forthrightness that makes the female subject survive, endure, move on
•they are punished but never totally obliterated into the horror scene
internalization of fear ==>? domestication =? maintaining the status quo in community fronts --Foucault--> docile ==> productive for state formation
(the survivor never fully survives and triumphs over the adversaries of the) horror scene --> open-endedness of the closure = of knowing + of being abjected
(libidinal drive in) citizenship claims in nation-formations ~= (libidinal drive in) continuing performative of the horror subject
}--> one is constitutes through but never thoroughly in power relations
white sexy female star + horror + social melodrama (= Charmed)
orally told tales of female violence
miscegenation
desire for liminal female sexuality
necrophilia
female haunting
heterosexual desire
nostalgia for truth
==provide==> template for cultural idiomatic imagination
historical experience --> futile & enunciated through the orality of retelling (+ being capable of retelling)
historical justice has not been served in actual social reality ==> the horror scene bears the constant threat and possibility of repeating itself on the future
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#idea
namaz gestures as alchemical ruse to open portals, kill enemies, transmute objects, and other specs
...................................
Naveeda chapter 1 mosque
mosque =/= shell for prayers
•monumental structures built by the state
old mosque: part of complex devoted to
•learning
•dispensing justice
•channeling charity
oft repeated statement: Pakistan is a mosque [~= one has to learn to inhabit this place, aquire the right etiquette in sharing it] (--> what it means to be Muslim in Pakistan)
•a place of assembly?
•a sacred place?
qabza, ghabze قبضه, violent seizure, forcible possession
(depending on who you ask -->) Pakistan under ghabze by:
•the state
•venal religious figures
•unscrupulous lay muslims
•sectarian groups
•
“narratives of loss --> investment on self-betterment* (+ bettering of one's community) ~= striving
emergence of new independent mosques --> new property arrangements (+ admin + funding) --> growth of civil institutions
city bureaucracy of Islamabad ==Hull==> *uncivil politics* (سیاست غیرمدنی =/= civil society)
(like Tehran) Lahore = urban fabric palimpsest of:
•different eras of history
•political leadership
•social composition
•aesthetic styles
•modalities of social engineering
=/= dissolving the past into hypermodern
*postcolonial ~=> sectarian politics*
local mosque-related politics
سیاست محلی مسجدی
demographic change + population growth + strengthening of sectarian politics = ?
به طور قانونی غیرقانونی
legally illegal mosques
(illegal structures on land legally put aside for this purpose)
presence of bureaucrats within mosques in south Asia (since 19th century)
creating an ideal state by means of the mosque
loud zekr ذکر
mosque: (bearing) traces of the changing fortunes of its worshippers
qabza =/= voice: an individual's singular words and gestures arising from her embodiment *of hey maslak مسلک*
...civil servents
cultivating a modernist
cosmopolitan air
and their educated well-traveled
nuclear families
congregation (جماعت =/=? collective, community)
communal exchange
learning
contemplation
mosque employee hierarchy:
1. khatib خطیب the person who gives sermons during Friday prayers
2. imam امام the person who leads the give obligatory prayers during the day expect Friday
3. ghari قاری the person who had received enough training to render a pepper recitation of the quran
4. moazen موذن there person who gives the call to prayers, also responsible for cleaning the mosque
ghabze of mosque = expression of ambition (to found religious space) to forge the model Muslim community (beyond daily needs of worship)
***legal exercices & bureaucratic forms = a mode of experimentation*** (in being good [Muslim, intrinsic to Pakistan])
--> to enable civil relation (learning from Naveeda and Femke)
Islam is only one element of a complex weave of politics (involving local lead[...]