[...]ms of culture take. (for example, “tradition” is from that famility of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs, a string of things in a particular order and not another. ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to totem columns='lgc'>]. “="trms">language” is another one.)
="lsts lst2">◦what are the degrees of flexibilty, stretch and tention between the nodes in a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig='qstn'>?
="lsts lst2">◦what a substitution in a string-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig might change the ways that being is animated, and therefore change the meaning='qstn'>?
="prgrph">-that means='lgc'>: change the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig, and you will change the ways space and time are arranged
="prgrph">-that means='lgc'>: thinking about ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs is like thinking about the ="trms">language, or better='lgc'>: ="trms">ontological commitments embedded in ="trms">language. and since we are ="trms">interested in ="trms">materiality ='lgc'>[that means='lgc'>: ="trms">material human-="trms">technology ="trms">relations='lgc'>], i would ask='lgc'>: what are the ="trms">material objects that this ="trms">language commits us to='qstn'>? to be more exact='lgc'>: what are the ="trms">material objects that the ="trms">language-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig commits the ="trms">CG-hacker to='qstn'>?
="prgrph">-="trms">ontological assumptions embeded in any “device” (English grammar, ="trms">CG ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs, architect's tools, a de="trms">finition in ="trms">language, etc.)
="prgrph">-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs are clever ="trms">technological provisional constructions, (always) setup for a ="trms">specific ="trms">naturalization.
="prgrph">-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs ="trms">articulate ="trms">animacies, that is to say='lgc'>: they are almost ="trms">linguistic structures that shape or determine our animations
="prgrph">-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs do consequential work
="prgrph">-how elements are arranged together, how they are ="trms">composed, how they are brought into ="trms">relation in the space of a field, ="trms">narrative, text, environment, etc
whenever you give a de="trms">finition (a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, a concept) and work with it, and find yourself committed to certain findings, tracings and meanings because of that='lgc'>: you are working with a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig. that is to say='lgc'>: ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs are de="trms">finitional structures, not arguments themselves, but their conditions.
then the ="trms">question would be='lgc'>: when do you know that it is time to dismantle a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig='qstn'>? how to recognize, learn to reuse or repurpose old ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs='qstn'>?
in ="trms">CG the business of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigging and ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig-making is handed to the engineering talent and point of view, it has made a pure ="trms">technical problem.
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skeletal, it's all about the ‘arm’
http://www.toxik.sk/img/maya2011_ya.jpg
an arm is a spaciotemporal particularity
the organisms that ="trms">crafted in their bodies the subphylum vertebrata, a terrestrial ="trms">technology for moving the flesh.
the images we make are made in the image of the one-with-arms
mechanical
bipedal
facial
quadrupedal
many arms and legs
spinal
surficial
hair
feather
rain ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig by محمد عبدالله
eqFUnFPcuwg
an Optimus Prime transformation ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig by Eske Yoshinob
VDrAzeNS2pk='qstn'>?t=28
(strictly) possible tranformational arrangements
how a being is ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigged into transformational particularities
in this sense, the ="trms">question of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig is ="trms">ontoloical, specially in a ="trms">world populated by devices and ="trms">techniques, ="trms">interfaces and ="trms">folds upon ="trms">folds, constructions that do things for another constructions, ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs that ="trms">translate
kinematic equations, inverse kinematics, the math of it is called the Jacobian inverse ="trms">technique
https://upload.wikimedia.org/wikipedia/commons/7/76/Arc-welding.jpg
https://upload.wikimedia.org/wikipedia/commons/2/2c/Modele_cinematique_corps_humain.svg
“In robotics, inverse kinematics makes use of the kinematics equations to determine the joint parameters that provide a desired ="trms">position for each of the robot's end-effectors. ="trms">Specification of the movement of a robot so that its end-effectors achieve the desired tasks is known as motion planning.”
https://en.wikipedia.org/wiki/Inverse_kinematics
='lgc'>{\frac ='lgc'>{\partial p_='lgc'>{i='lgc'>}='lgc'>}='lgc'>{\partial x_='lgc'>{k='lgc'>}='lgc'>}='lgc'>}\approx ='lgc'>{\frac ='lgc'>{p_='lgc'>{i='lgc'>}(x_='lgc'>{='lgc'>{0,k='lgc'>}='lgc'>}='lgc'>+h)-p_='lgc'>{i='lgc'>}(x_='lgc'>{0='lgc'>})='lgc'>}='lgc'>{h='lgc'>}='lgc'>}
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Maya's ="trms">interfacial iconograhies
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how do we animate quadrupeds, invertebrates, phyla, rotifera (wheel-="trms">animals), and so on; for each a mathematics must be invented in order and terms of digital computationality.
“anatomy” is always “="trms">imaginary anatomy” (in ="trms">CG, comtemporary dance, medicine, ="trms">love, etc.)
a skin has to deal with='lgc'>:
“Global Stiffness Structural Optimization”
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig talks to mesh, telling it how to move, how to be.
how we evolved from jelly to skelletal='qstn'>? something tense, intensified in space, some flesh attached to it. how the concrete mineral came back to assert itself in the terms of bones of the organism='qstn'>?
(a mesh is a matrix of points in which the neighboring points only ="trms">matter to eachother. mesh is the result of the study of topology in mathematical notions of space and structure, with ="trms">demands of an industry ="trms">interested in the re="trms">presentation of surface. mesh is ="trms">interested by creatures that have a skin, and have stakes in tactility='qstn'>?)
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig is that constructed logic or grammar that allows mesh deformation in one way and not another. made of en="trms">folded layers of ="trms">code and constraint
="trms">story of the bone
the flow of ="trms">matter and energy, flow of intensification between ="trms">sortal processes, organisms, and minerals.
this is about how ="trms">matter is defined, in everyday ="trms">CG work
how certain kinetic skeletal ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs ="trms">naturalize the ="trms">relationships between volume and surface and skeleton ='lgc'>='lgc'>--> which is always ="trms">symbolic
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notes by other participants of the workshop='lgc'>:
http://pad.constantvzw.org/p/possiblebodies.sina.workshop
some post-workshop notes='lgc'>:
="trms">questions of='lgc'>:
="lsts lst1">•="trms">causality='lgc'>: how ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig-thinking can help to have a better understanding of ="trms">causal ="trms">relationships between the ‘moved’ and ‘mover’='qstn'>?
="lsts lst1">•control='lgc'>: how can we have a more ="trms">interesting ="trms">ontology of constraints that allows more ="trms">interesting ="trms">articulations of control='lgc'>='lgc'>---(that one-way flow of influence between the soft and the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid)='qstn'>?
="lsts lst1">•process and becoming='lgc'>: how the ="trms">technological ="trms">nature of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig and its ="trms">relations with the image of the organism in ="trms">CG can be ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigged for a ="trms">different ="trms">articulation of the lived-body='qstn'>? and to which extend the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig can be helpfull to think about the becoming of the beings-of-the-="trms">CG (that means='lgc'>: hacker ='lgc'>+ 3D model)='qstn'>?
="lsts lst1">•identity='lgc'>: How within an industry such as Pixar, deeply invested in what is a feeling and ="trms">affectious living characher, a whole new set of ="trms">technologies and ="trms">ontologies must be made and destroyed, learned and unlearned, for a ="trms">different ="trms">question of identity='lgc'>: what is a living thing='qstn'>? how ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig ="trms">matter in a ="trms">world that is made of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs that make ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs for beings to ="trms">articulate themselves in, through, and with them='qstn'>? inventing and being invented by them
="lsts lst1">•model='lgc'>: animation='lgc'> = life; asking what brings us to life, makes us alive='qstn'>? (what we animate and what animates us)
="lsts lst1">•="trms"nttrm="already,spread">reading and space of the text='lgc'>: the practice we did with pop-up-="trms">book making, a joint page of a ="trms">book when opened wide, the meaning and influence of the ="trms"nttrm="already,spread">reading animates itself like a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig, coming into movement, flow and inflow as the result of the muscular skeletal ="trms">gesture of a “="trms"nttrm="already,spread">reader” who has two hands='lgc'>: mechanical ="trms">animacies of the act of ="trms"nttrm="already,spread">reading set in time and space by the “="trms">writer”
="lsts lst1">•which ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs='qstn'>? (with ="ppl">Strathernian ="trms">rhetorics) ='lgc'>='lgc'>='lgc'>---- ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig-making practices are ="trms">ontological ="trms">technological choreographies that (in the case of ="trms">CG) make mesh ="trms">matter='strcls'>*='lgc'>='lgc'>='lgc'>='lgc'>-----they are involved in ‘making mesh flesh’
='lgc'>[14.05.2017='lgc'>]
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="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'>: a higher-level description of the motion of the part (of mesh) it is influencing (='lgc'>='lgc'>--> set of “bones” may not be hierarchical or ="trms">interconnected)
='lgc'>[a='lgc'>] simplified user ="trms">interface allowing animators to control often complex algorithms and a huge amount of ="trms">geometry ='lgc'>='lgc'>--> control the deformation of the mesh ="trms">data (='lgc'>=/= imitate real anatomy or physical processes)
="trms">modern ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging='lgc'> = hacking (in 3D softwares)
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Disney ='lgc'>='lgc'>--> body-ege='lgc'>: feeling good about oneself
(via) the playful mastery over ="trms">anthropo="trms">morphized machines
(="ppl">Rickels > Hanns Sachs='lgc'>:) the last time machines were used for play and not work was during the time of the ="trms">Greeks and Romans ='lgc'>: culture's value of the human body ='lgc'>='lgc'>==> machine used for amusement
='strcls'>**="trms">narcissistic investment (of ="trms">interest) in the body protects against sub="trms">mission to the machine='strcls'>** ='lgc'>='lgc'>--> conceived no longer as plaything but as his own prosthetic extension
movement of fantasmatization
to fantasize aggression='lgc'> = to turn it around upon oneself
guild='lgc'>: the currency of the father function
both genders (at the beginning) are phallically aggressive when it comes to mother
="ppl">Kafka and de Sade despised the body for its limitations and boundaries
body (which is always also the maternal body) comes only to its mutilation ='lgc'>[='lgc'>~ skinning='lgc'>], rebuilding, and reanimation ='lgc'>[="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'>]
body has been left behind in the wake of its media-="trms">technical range ='lgc'>='lgc'>--> it can no longer be plugged back into any so-called ='strcls'>*sensorium='strcls'>* or ='strcls'>*corpus='strcls'>*
media ='lgc'>='lgc'>--> (from the point of view of) identification with the dead ='lgc'>[='at'>#="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig ='at'>#nonhuman='lgc'>]='lgc'>='lgc'>--> every medium acquires its only prosthetic aim on a target range of ='strcls'>*projection='strcls'>* and ='strcls'>*haunting='strcls'>*
media-="trms">technical innovation
3D animation industry ='lgc'>='lgc'>--> new modes of disposal of the dead
="prgrph">-not on the side of life
phantasm of the missing ="trms">child
(retro="trms">fashion and charge of ="trms">child abuse)
="trms">modern military ='lgc'>+ ='strcls'>*="trms">techno-mediatic expansion='strcls'>*
="trms">memory pictures
tableaux vivants
="trms">technologization
massification
teenagerization ='lgc'>='lgc'>--> totally SM, friendly, cool, into being popular
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the spaces between decent bodies
='at'>#waiting for render='lgc'>: ="trms">relations between hacker as organism and the computing ="trms">beast
what is being processed='qstn'>? ="trms">intra-actions of both CPU and gut.
='strcls'>*waiting for a slow render to finish, i used to enjoy the process. unfinished renders, slow computers, lag, and queer forms of waiting
='lgc'>[title='lgc'>]
/waiting bodies and slow computing
/="trms">differentiated constitutions of the waiting body and the nunhuman computational labor
com="trms">positional waiting ='lgc'>='lgc'>--> ="ppl">="ppl">Stewart's attunement
the labor of the CPU, the graphical ="trms">interfance, and the waiting body of the hacker are in an orientation (='lgc'>='lgc'>--> what am i asking here='qstn'>?)
(="ppl">Alberti='lgc'>: among the Matis) the practice of ‘curare watching’ (the hours spent observing the process in ="trms">excess of practical necessity) ='lgc'>["waiting,” looking at unfinished render...='lgc'>] is fundamental to the efficacy of the poison ='lgc'>='lgc'>--> the physical and mental experience of making something has an impact on its ultimate properties
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='at'>#a comparative software study='lgc'>: principles of ="trms">worlding in Maya/Blener, Softimage, Houdini
which de="trms">finitions are postponed='qstn'>?
="lsts lst1">•objective='lgc'>: that which is instantly defined
="lsts lst1">•subjective='lgc'>: that which its de="trms">finition is postponed
change='lgc'>--='lgc'>{time, space, ="trms">matter='lgc'>}='lgc'>='lgc'>-->
touch='lgc'>--='lgc'>{time, space, ="trms">matter='lgc'>}='lgc'>='lgc'>--> ="trms">data flow
in Maya
re="trms">presentation is postponed ='lgc'>='lgc'>--> subjective mode of Maya ='lgc'>='lgc'>--> an sculptura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ="trms">ontology='qstn'>?
in Softimage
the distinction between spatiotemporal modifiers is postponed ='lgc'>='lgc'>--> dynamics paradigm='qstn'>?
(the viewport partial renderer in Softimage is part of the ="trms">phenomenological experience of enacted ="trms">interface ='lgc'>=/= Maya's renderer pops up in another window) 4697942
in Houdini
the de="trms">finition of the onject is postponed
='strcls'>*which ="trms">differences are delayed in ="trms">different 3D software applications='qstn'>?
(the difficulties of clean ="trms">translation between them)
(when I was working as a 3D genera="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list I always reworked the default scence, setting up ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs to begin with...)
begining with='lgc'>:
="lsts lst1">•void
="lsts lst1">•camera
="lsts lst1">•light
="lsts lst1">•chaos
="lsts lst1">•soup
="lsts lst1">•turtle's back
="lsts lst1">•absolute ="trms">geometry
="lsts lst1">•ornament
="lsts lst1">•
how the Latin ="trms">language in software ="trms">interfaces dominates the mode of thinking and conditions synthesis='qstn'>?
="lsts lst1">•how, for example, a ="trms">Farsi inhabiter might ="trms">craft a ="trms">different spatial synthesis in terms of a ="trms">different ="trms">linguistic ="trms">ontology='qstn'>?
='lgc'>[b ='lgc'>+ a='lgc'> = ba='lgc'>] ='lgc'>=/= ='lgc'>[آ ='lgc'>+ ب ='lgc'>='lgc'>='lgc'>~=> با='lgc'>] ='lgc'>{a ="trms">different effect='lgc'>}
="lsts lst1">•="trms">interface ="trms">question
="lsts lst1">•="trms">phenomenological ="trms">question
="lsts lst1">•in ="trms">Farsi the joint attachments undergo trans="trms">figuration, ="trms">different ="trms">viscous ="trms">relational property, adhesion refigured
what would be an ="trms">interesting ="trms">interface ="trms">question posed to each of the 3D softwares='qstn'>?
one ="trms">language ='lgc'>='lgc'>---='lgc'>{Bauhaus='qstn'>? De Stijl='qstn'>? nasta'ligh نستعلیق='qstn'>?='lgc'>}='lgc'>--to='lgc'>='lgc'>--> another ="trms">language
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painfully queer
='strcls'>*="trms">questions for my ="nms">ajayeb's ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs and pop-up ="trms">book='lgc'>:
my ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs and pop-up ="trms">book are descriptive concepts, that means='lgc'>: they obtain their meaning by reference to a particular physical ="trms">apparatus ='lgc'>='lgc'>==>='qstn'>? a constructed cut between the object and the ="trms">agencies of observation
="lsts lst1">•pop-up ="trms">book='lgc'>: an ="trms">instrument with fixed parts ='lgc'>='lgc'>==> concept of “="trms">position”
="lsts lst1">•="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs on the other hand tries not to ex="trms"nttrm="cluster,club">clude other concepts such as “momentum” from having meaning
='lgc'>='lgc'>--> ="nms">ajayeb's variables require an ="trms">instrument with moveable parts for their de="trms">finition (='qstn'>?)
='strcls'>*ex="trms">="trms"nttrm="cluster,club">clusions (= physical ='and'>& conceptual constraints) are co-constitutive='strcls'>*
='strcls'>*objectivity (= possibility of unambiguous ="trms">communication, boundry ="trms">articulations) ='lgc'>='lgc'>--> reference must be made to bodies in order for concepts to have meaning (='qstn'>?)='strcls'>*
="lsts lst1">•my ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs and ="trms">books are about how discursive practices are related to ="trms">material ="trms">phenomena
(='strcls'>*)="trms"nttrm="already,spread">reading='lgc'>: “text” is the ="trms">interface between the matrialization of “reality” and subjectivation of “="trms"nttrm="already,spread">reader” ='lgc'>='lgc'>--> inseparability of ="trms">language and reality in ="nms">ajayeb
(“We are suspended in ="trms">language in such a way that we cannot say what is up and what is down, The word ‘reality’ is also a word, a word which we must learn to use correctly.” Petersen < ="ppl">="ppl">Barad)
="nms">ajayeb's iterative processes of ="trms">materialization
عجایب نامه ='lgc'>=/= ="trms">imagined and idealized human-independent reality
="nms">ajayeb's ="trms">stories of ="trms">historically nunhuman people
in ="nms">ajayeb's descriptive ="trms">intra-actions with reality, humans and ="trms">language are part of the configuaration or ongoing reconfiguring of the ="trms">world, that is ="trms">phenomena
we cannot so easily answer where the ="trms">apparatus “ends”
="lsts lst1">•(but again, how can I answer) which ="trms">ontological practices are ="trms">embodied (or embeded) in (the productive and constraining dimension of regulatory) ="trms">apparatuses of my ="nms">ajayeb='qstn'>? (="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs, hypertext, pop-up, etc.)
="lsts lst1">•(resisting the anti-="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics legacy) how can I keep insisting on accountability for the particular ex="trms">="trms"nttrm="cluster,club">clusions that are enacted in (my) ="nms">ajayeb and taking up the ="trms">responsibility to perpetually contest and rework the boundries (of my objectivities)='qstn'>?
="large lg1" stl="font-size:113%">
(='strcls'>*)effect='lgc'>: marks left on the ="trms">agencies of observation
enacted ='lgc'>=/= having
(="trms">agency is the ="trms">matter of enactment not something that one ‘has’)
(='strcls'>*)dis="trms">articulation='lgc'>: the ="trms">question of who/what gets to be ="trms">imagined (and in which way)
(="ppl">="ppl">Barad's sentences are long in a way for the ="trms"nttrm="already,spread">reader to feel all those particular words in one breath)
="large lg34" stl="font-size:110%">
(in medical practices) the machine becomes the ="trms">interface between the objectification of the spacific body under experience (for example the fetus) and subjectivation of the ="trms">technician, physicianm engineer, and ="trms">scientist.
...some ="trms">ontologies='lgc'>:
="lsts lst1">•classical rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list='lgc'>: ="trms">posit some fixed notion of being that is ="trms">prior to signification
="lsts lst1">•="ppl">Kantian transcendentalism='lgc'>: being completely inaccessible to ="trms">language
="lsts lst1">•="trms">linguistic monism='lgc'>: being completely of ="trms">language
="lsts lst1">•="ppl">="ppl">Baradian ="trms">agential realism='lgc'>: ="trms">phenomena are constitutive of reality
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kinetic, energies expressed in variables
="trms">integrated de="trms">finitions='lgc'>:
="lsts lst1">•movements of an isolated body
="lsts lst1">•in detachment with the rest of the ="trms">world
="lsts lst1">•linear function of time
="lsts lst1">•all energy is kinetic
="lsts lst1">•value of “potential energy” is zero
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="trms"nttrm="metaph,metamorph,metabol,metal">metal="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurgy concerns ="trms">matter in movement
="trms">matter-flow
what about the 3D hacker='qstn'>? what is in flow='qstn'>?
form is ever-emergent ='lgc'>=/= pre-determined ='lgc'>='lgc'>-->='qstn'>? default
='lgc'>[="ppl">Alberti on northwest Argentina first millennium ceramic vessels:='lgc'>] potters’ bodies were shaped irrevocably by their ="trms">skilled practice
objects they made were never complete ='lgc'>='lgc'>==> they were aligned with others’ concerns ='lgc'>='lgc'>==> they were drawn into potters’ ="trms">social identities ='lgc'>='lgc'>--> into the ="trms">category of potter
='strcls'>*="trms">skill and ="trms">ontoloical risk ='lgc'>[='lgc'>='lgc'>--> ="trms">question at ="trms">CG artist='lgc'>]
="prgrph">-becoming subject to the processes they are involved in ='lgc'>--(this commitment)='lgc'>='lgc'>--> involves them in both the task and its ongoing ="trms">material consequence
="trms">skilled practices ="trms">situated as the mediator between one realm and the other ='lgc'>=/= (in Amazonia) where ="trms">natural and cultural processes are not distinguished in the same way, ="trms">skill is conceived far more broadly and is not an ex="trms">="trms"nttrm="cluster,club">clusively human capacity
(for Kuna) ='lgc'>[='strcls'>*='lgc'>]="trms">skill='lgc'>: a mark of the maker's openness to alterity, learned in dreams from ="trms">animals that lost the ability to perform those activities in mythic times, it not only acts upon surfaces or moulds forms; it also transfers qualities
="trms">skill ="trms">matters (='lgc'>=/= gauge of ="trms">technical action applied to raw ="trms">material='lgc'>--like the case of The Magicians)
hackers and potters
(potters’ identities were vulnerable, how about hackers after a millennium='qstn'>?)
="trms">CG artist's ="trms">intervensions in 3D ="trms">materials (concidered active)
(we are living in) an inconstant ="trms">world in which ="trms">materials (in="trms"nttrm="cluster,club">cluding computers='qstn'>?) were lively and equally capable of subjectivity
(conventionally conceived) polygon modeling='lgc'>: reproducing, or re="trms">presenting a mental image of a completed body-pot
='strcls'>*='qstn'>?how ="trms">CG artist can learn, like La Candelaria potters ='strcls'>****to take part in an ="trms">aesthetics of care that is also a ="trms">response to the threat of the inconstancy of all forms='strcls'>****, ="trms">responding to perturbations in the movement of ="trms">materials, to in="trms"nttrm="cluster,club">clude knowl="trms"nttrm="knowledge,Knowledge">edge of its inconstancy and of ="trms">materials always capable of subjectivity
(this is significant for ='mywrk'>my research on ="nms">ajayeb, due to the ways ="nms">iranian culture is attracted to the image, and my self to ="trms">CG and digital form making)
my ="trms">relationship with the digital (="trms">articulated with ="ppl">Alberti='lgc'>:) that body-polys (body-pots) are ambivalent ="trms">responses to the threat of inconstancy in a ="trms">world wherein forms (like statues of myrtle) were only ever apparent ='lgc'>='lgc'>--> each making of a body-poly (or pot) is a performance and an improvisation, unscripted and therefore cab go wronge
='lgc'>[="ppl">Alberti ='lgc'>+ Budden ='lgc'>+ Sofaer ='lgc'>+ Ingold ='lgc'>+ Hallam='lgc'>]
3D model='lgc'> = partial subject
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in Maya particles are as little ping-pong balls ='lgc'>--='not'>✕='lgc'>='lgc'>--> relativity theory destroyed ='thdf'>the idea of consistent objects
='lgc'>='lgc'>--> extreme forms of realism
Hitchcock's vertigo effect ='lgc'>='lgc'>--> a tool i built years ago='lgc'>: https://www.highend3d.com/maya/script/vertigotool-for-maya
="trms">simultaneously ="trms">zooming and pulling away ='lgc'>: we apear to be in the same place, yet the place seems to distort beyond our control ='lgc'>==reestablishing='lgc'>='lgc'>==> the way we experience “here”
the vertigo tool doens't do away with human experience, it drastically modifies it in a dizzing manner
='lgc'>='lgc'>--> a d="trms"nttrm="danger,stranger">angerous knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">zoom lens tool, a vertiginous antirea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list/anti="trms">literal ="trms">abyss (='lgc'>=/=='qstn'>? irony device ='lgc'>='lgc'>==> ="trms">presenting us with intimacy with existing nonhumans)
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='at'>#="trms">veil
='at'>@="frds scrmbld">Janina
='at'>@="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Ale
Nicole ="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>: ‘textile’='lgc'>: a ="trms">material formed at the ="trms">intersections of desire and ="trms">modern politics
="lsts lst1">•textile's ‘textility'='lgc'> = texture
="lsts lst1">•textile's ‘textuality'='lgc'> = ="trms"nttrm="already,spread">readability
to be prepared to address ="trms">relations consistencies ='lgc'>='lgc'>==> (hope to) meaningfully reform them
='strcls'>*(="ppl">="ppl">="trms"nttrm="search">Archer lingering in the textile's volatile gum) to develop forms of critique that can account for the peculiar textiles ‘we’ are currently wrapped-up in='strcls'>* ='lgc'>[globalized economies, militarized laboratories, etc. (BioSteel and so on)='lgc'>]
text ='lgc'>+/& textile
="lsts lst1">•in ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='lgc'>: the ="trms">social fabric, the ="trms">Internet, the ="trms">Fold, etc.
="lsts lst1">•in myth='lgc'>: Arachne's textiles, or Penelope's epic loom
='lgc'>}='lgc'>--='not'>✕='lgc'>='lgc'>-->='qstn'>? to account for neo-liberal and transgenic subjects
(traditionally='lgc'>:) textile (racialized and gendered, as “woman's work”) “='lgc'>=/=” text
='strcls'>*fabric conditions and binds our desires and bodies ='lgc'>='lgc'>---='at'>@="frds scrmbld">Janina
(="ppl">="ppl">="trms"nttrm="search">Archer >) Gernreich exposed how the ="trms">fashion ="trms">system ="trms">instrumentalized the body's desire to move” while inscribing it within the time-sig="trms">natures of ="trms">modern capitalism
uniform='lgc'> = contemporary ="trms">fashion's other
digi-camo (redesigned and digitally remixed camouflage fatigues worn by the US military)
desire for “freedom” and for alternative temporalities ='lgc'>+ desire for discipline and physical restraint
='lgc'>}='lgc'>='lgc'>--> ='strcls'>*tight spaces our desires are prone to work themselves into='strcls'>*
textures and taxonomies of ="trms">fashion and uniformity
Abu Ghraib ='lgc'>='lgc'>--> (in the pursuit of a) ="trms">perverse desire for justice (a desire that many feel is best met in the violent erasure of certain subjects)
(let's) stop pretending that “we” weren't al="trms"nttrm="already,spread">ready caught-up in the messy circuits of desire
“='lgc'>[...='lgc'>]="ppl">Freud's figure of the woman who has nothing better to do than but braid her pubic hair into a futile simulation of the phallus, and who (="trms">interestingly enough) accidentally invents weaving as an outcome of this inherently fetishistic ="trms">gesture” (="ppl">="ppl">="trms"nttrm="search">Archer > ="ppl">Barthes > ="ppl">Freud)
Gernreich working with “the future” as a medium and not as a destination='strcls'>***
="prgrph">-he was keen to work with ="trms">fashion as a ‘time-based medium’(='lgc'>~ deliver us ="trms">onto alternative temporalities)
='lgc'>[='strcls'>*='lgc'>]="trms">fashion='lgc'>: a distinctly ="trms">modern clothing regime engineered to ="trms">materially manipulate “the ="trms">past” so it may serve as a springboard into “the time to come”, an attempt to create the perfect tension between “="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right now” and “back then” ='lgc'>='lgc'>==> (="trms">fashion serving as one of ="trms">modern culture's main engines catapults the wearers) towards a time and place where ="trms">present-day problems can no longer reach them and unknown pleasures are made manifest ='and'>& continually converting the erratic power of our desires into a kind of motion that can be effectively capitalized upon
(brackets and bracelets)
...momentary and marvelous sensations of free fall (by way of design)
="frds scrmbld">Janina's wardrobe malfunctions
='strcls'>*the fine line between sexual liberation and sexual exploitation (in Space 1999 and ="ppl">="ppl">Star Trek uniforms)='strcls'>*
(="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>:) “="ppl">="ppl">Star Trek's futuristic costumes assert their ‘other-="trms">worldliness’ by emphatically exposing as much of a woman's body as possible to a relatively prudish American public during the peak of the sexual revolution. Theiss’ garments were ="trms">literally devised to slip back into the legacies of shame that had heretofore defined the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of sexual ="trms">difference and the litany of unequal gender ="trms">relations that followed.”
() the artist and his muse (typically gendered image of the ="trms">fashion designer and his model) ='lgc'>='lgc'>--> based on the classical notion of an unhampered and ="trms">naturally feminine ground of conception ='lgc'>=/= masculine drive to be “creative” ='lgc'>: (old notion that) “woman is the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ='lgc'>='lgc'>==> it is up to man (Gernreich) to be o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal” ='lgc'>='lgc'>--> to re="trms">fashion feminine mater-iality into more meaningful forms
easily inscribed and ="trms">veiled shame of nudity
='strcls'>*hyper-exposure='strcls'>* and ='strcls'>*self-consciousness='strcls'>* (aimed at the shame ‘we,’ who live within ‘the cultures of the textile,’ are possessed by)
...deep-seated knowl="trms"nttrm="knowledge,Knowledge">edge that the textile leaves us continually and hopelessly exposed
='strcls'>*our need to be forever wrapped-up in the text/ile='strcls'>* ='lgc'>: endlessly bound by the perpendicular, criss-crossing of one another's desires and the ‘significances’ we ascribe to such satisfying pre="trms">dictability
textile screens
textile’s discursive usefulness='lgc'>: its ability to support and exploit the image of our “alternative” identities
(="ppl">Lacan's) objet petit a ='lgc'>: prediscursive, meaningless thing’
textiles (and the clothing shaped from them) are not “convenient things” that help curtail or discipline our desires (by properly ="trms">veiling them), rather, they are the very object cause of our desire
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capturing and suspending our desires in fabricated flights of fancy ='lgc'>=/= a sieve (alak) to pass through ="trms">onto places unknown/unknowable
="trms">embodied politics of impropriety
rethinking how ‘the body’ is typically ="trms">interpolated, along temporal lines
the medium of the textile (='lgc'>='lgc'>--> ="trms">fashion's main medium ='lgc'>='lgc'>--> th="trms"nttrm="already,spread">read of sexual ="trms">difference running through this fabric)
...styles that are not pre- or over-determined by a dua="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic form of sexual ="trms">difference
sartorial scheme
abstracting the concept of ‘the body’
attire
(more) body's ="trms">social ranges of movement
(more) flexible corporeal ="trms">aesthetics and ="trms">articulations
='lgc'>{Edie's odd,protracted sleeves of her dress in Warhol's ICA exhibition 1965='lgc'>} the surreal transformation of a woman's arm into a pachyderm's long, wily, and ="trms">authority-defying appendage...
the conventional and deeply gendered notion that ="trms">fashion is “='lgc'>[ephemeral='lgc'>], frivolous, relegated to the domain of the feminine and the body, as opposed to art, which ='lgc'>[is='lgc'>] deemed ='lgc'>[eternal,='lgc'>] masculine and placed in the sphere of the mind and psyche” (="ppl">="ppl">="trms"nttrm="search">Archer > Geczy and Karaminas)
and='lgc'>='lgc'>--> ="trms">intertwining of ="trms">fashion and art has long been regarded as absolutely key to the production of the ="trms">modern ="trms">social fabric='lgc'>--intended (like the warp and weft of a textile) to remain discreet, always perpendicular
="trms">modern ="trms">aesthetic theory ='lgc'>='lgc'>--> contradictory structure of ="trms">difference of “="trms">fashion ='lgc'>=/= art” ='lgc'>: “="trms">fashion design='lgc'> = art's constitutive other” (= that mode of creative production that is beholden to the ="trms">market and to the manufactured whims of the ="trms">embodied, ="trms">consumer passions ='lgc'>=/=='lgc'>{ art's singularity, extraordinariness, ='lgc'>[="ppl">Nietzschean ethics of='lgc'>] standing alone ='lgc'>='lgc'>==> timeless or universal knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>=/= ‘everyday culture'='lgc'>})
radical beauty of the quotidian
mundane ="trms">material culture is repeatedly ='strcls'>*elevated='strcls'>* and “="trms">translated” into art ='lgc'>='lgc'>--> “losing its place within lived reality ='lgc'>='lgc'>==> to become critically meaningful” ='lgc'>=/= (Gernreich's) art and ="trms">fashion critically transformed so that they run parallel and start to resonate with one another
(for ="ppl">Benjamin) ="trms">translation ='lgc'>[='lgc'>='lgc'>~= criticism='lgc'>]='lgc'>: allowing (="trms">translatior's) ="trms">language to be powerfully ="trms">affected by the foreign tongue ='lgc'>[='lgc'>=/= preserves the state in which (="trms">translatior's own) ="trms">language happens to be='lgc'>]
="prgrph">-to transform “the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal” text/thing through the medium of the other, echoes that are produced in the space that opens up between an “o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal” and “secondary” text ='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]="trms">translation='lgc'>: inconsequentiality of o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal/secondary separation
='lgc'>--Gernreich='lgc'>='lgc'>--> to make clothes in-between art and ="trms">fashion (now and the future, the self and the other)
it-girl
Beatlesque escape
new paths that young people are charting requires clothes
(="ppl">="ppl">="trms"nttrm="search">Archer is making me ="trms">interested in ="trms">fashion by helping me go through the) economic and scopophilic grains of the ="trms">fashion industry
='thdf'>the idea of the ‘new look’ absolutely dominating the ="trms">fashion s="trms">cene during the mid 21st century
‘new look’ ="trms">fashion strictly obeying the laws and divisions of optically delineated ="ppl">Cartesian space, and its attending ="trms">epistemo-="trms">ontologies and political economies (-="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>: the proportions of Dior's famous silhouette absolutely required that one always take a well-heeled “step-back” in order to comprehend themselves in a mirror, a camera lens, or even a street window) ='lgc'>='lgc'>--> (offering ="trms">consumers new manners in which) to dress, but also ='strcls'>**to see and to understand themselves and their potentiality='strcls'>**
='lgc'>[myself, like many critical artists of my generation, we glean (harvest خوشه چينى) the occurrence of ideological violence='lgc'>]
relaxed clothing shapes
affordable
easy-to-care-for
mix-and-match fabrics
hyper-="trms">modern color combinations and patterns
couture خياط زنانه
animosity, bad blood, animus's ="trms">system, the ="trms">system is made
perennial enfant terrible
(the naked constant prince)
="trms">social change ='lgc'><='lgc'>== ='strcls'>**="trms">fashion must (and will) go out of ="trms">fashion='strcls'>**
Gernreich's economic critique of the ="trms">fashion ="trms">system ='lgc'>--='qstn'>?='lgc'>='lgc'>-->='lgc'>{ disregard of the wearer's comfort which is an obvious feature of all civilized woman's apparel ='lgc'>='lgc'>==> conspicuously figured the middle-class woman caught-up in the middle of the ="trms">fashion ="trms">system as being utterly passive and woefully un="trms">imaginative ='lgc'>='lgc'>-->
="lsts lst1">•seeing woman's ="trms">fashionable trans="trms">figuration only in terms of what it properly signified within the bounds of a patriarchal civil ="trms">society and a capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list economy
="lsts lst1">•failing to appreciate the pleasures that ="trms">fashionable styles offer their wearers in spite of the physical and ="trms">social restrictions they impose
='lgc'>}='lgc'>='lgc'>--> parochial economic critique (operating in a wholly rational realm) ='lgc'>=/= (Elizabeth Wilson='lgc'>:) how these ‘transforming actions’ might do violence to these orders ='lgc'>--="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>='lgc'>--> ='strcls'>**how the powerful and highly volatile work of desire un="trms">folds within the ="trms">fashion ="trms">system='strcls'>**
='strcls'>***oppression ='lgc'>=/= passivity='strcls'>***
Gernreich ='lgc'>='lgc'>--> ="trms">fashion ‘works’ not simply by way of its significant expense, but rather at ='strcls'>*the expense of signification='strcls'>*
='lgc'>{ ="trms">fashion='lgc'> = fantasy ='lgc'>}='lgc'>='lgc'>==> ="trms">fashion offers our desires a medium through which='lgc'>:
="lsts lst1">•to formally manipulate the discourse of the body
="lsts lst1">•to violently threaten the rational ordering of its meaning
="lsts lst1">•to from which to produce pleasures that exceed satisfaction or sense
="lsts lst1">•to operate on the text/ile in ways that are non-="trms">linguistic (within waking life)
="ppl">Lyotard's “the dream-work does not think, but ‘manhandles’ the text and operates on the text as if it were a ="trms">material” ='lgc'>=/= ="ppl">Lacan's “the unconscious is structured like a ="trms">language”
="ppl">Lyotard on ="ppl">Freud's assumption and insistence that the textures of a text ="trms">affect its meaning ='lgc'>='lgc'>--> ="ppl">Lacan's fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure (as analyst and philosopher) in not being able to appreciate how fantasy (='lgc'>~ the forms of desire ='lgc'>~='qstn'>? ="trms">fashion) pits the ="trms">materiality of signifiers against what they try to signify
="large lg18" stl="font-size:101%">
“if desire is the mobile element (here the wind, elsewhere water) that crumples the text, can it also be the fixative which keeps certain parts of it ="trms"nttrm="already,spread">readable='qstn'>? I know of only one notion which can satisfy these conflicting ="trms">demands='lgc'>: ='thdf'>the notion of form, of fantasy”
(my struggle with my colleagues) not to confuse ="trms">fashion ='lgc'>[or any object='lgc'>] for “an object that the subject ="trms">imagines and aims at” instead of recognizing ="trms">fashion as “a sequence in which the subject has their own part to play and in which permutations of roles and attributions are possible”
='at'>@="frds scrmbld">Hoda, ="frds scrmbld">Pierre, ="frds scrmbld"nttrm="Alice,Shariati">Ali
(Zizek='lgc'>:) through ="trms">fashion we learn how to desire ='lgc'>='lgc'>--> how to desire our own subjugation, as well as the possibilities of our own freedom
='strcls'>*political potency of desire='strcls'>* (='lgc'>='lgc'>--> do we need to recognize and manipulate it to our advantage='qstn'>? ='at'>@="frds scrmbld">Foad)
توان سیاسی میل
='lgc'>[looking for='qstn'>?='lgc'>] proper names ='lgc'>='lgc'>--> quickly recognized for offering some sense of sonic semblance in a sea of deconstructed phonemes in Anglo-shaped mouths
='at'>#wear my ="trms">lecture
='strcls'>*fantastic critique='strcls'>* ='lgc'>=/= parochial critique (usually rational economic)
='lgc'>[unpossessed persons are the ones who usually talking about magic, and transformative potentlies='lgc'>]
people who don't care about ='strcls'>*dressing up='strcls'>* are ="trms">situating dress reform (="trms">fashion) in a type of neutered and dis="trms">embodied utilitarianism (='lgc'>--="frds scrmbld">Janina='lgc'>='lgc'>--> ignorant to ="trms">fashion's textures and to the ways that ="trms">fashion's formal dimensions could motivate the body to move beyond the pleasure principle)
politics and feelings of pleasure and displeasure ='lgc'>--Gernreich='lgc'>='lgc'>--> absolutely central to any critical understanding or experience of the ="trms">world
='at'>@="frds scrmbld">Jassem='lgc'>: desires (always, even in the most strict desire regimes) could lead us astray
(the radical moment) when my body pursues its own ideas (='lgc'>='lgc'>~/= the ideas that i do)
post-structura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list textiles (a ="trms">different form of political activity) ='lgc'>=/= radical politics (such as movements and so on)
='thdf'>that is why i cannot simply critique existing forms for their morality nor simply offer humanist solutions to the problems (of capitalism, ="nms">Iran, etc.) like Gernreich, i am recognizing that by reinforcing or relaxing shapes and ="trms">materials of the there-is, i could direct the ways our desires became caught-up in the ="trms">system's works, or that certain ="trms">materials only worked in certain ways
affordable (double)knit fabrics='lgc'>: made of variable columns of ="trms">inter-looping yarns, ='lgc'>[they='lgc'>] are made to stretch in a variety of directions ='lgc'>=/= non-elasticated woven fabrics
='lgc'>='lgc'>--> texture of the night, (use it) to drape oneself over the arm of a couch, or to run after someone leaving a party a little too early
paths and forms of pleasure that Gernreich hoped to see all young people exploring
='lgc'>[...='lgc'>] Meanwhile ‘Man’ is temporarily bereaved. But they will find a new way. ='strcls'>***And the new way will have important consequences for clothes='strcls'>*** -Gernreich
capitalize='lgc'>: transformation of unexpected ='lgc'>--into='lgc'>='lgc'>--> simple ='lgc'>--into='lgc'>='lgc'>--> expectable ='lgc'>--into='lgc'>='lgc'>--> convention/style
images of hyper-sexualized damsels laid amidst tall grasses (most controversial 19th or 20th century ="trms">figurations of women) ='lgc'>='lgc'>--> ='lgc'>[that is not enough='lgc'>--it falls short in showing='lgc'>] the way that these suits clearly encourage their wearers to close their eyes and explore the kinky pleasure found ="trms">specifically in the way PVC peels from your flesh in one long s="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurp
plastics don't have the same ‘="trms">memory’ as textiles
they don't hold ="trms">onto the ="trms">past
they won't stay obediently ="trms">folded like a cotton calico
vinyl swimsuit
='strcls'>*these designs proliferated a multi-faceted understanding of one's own skin='strcls'>*
="prgrph">-exposed skin feels so starkly and qualitatively ="trms">different than a torso left to sweat it out under a nearly non-porous plasticine cloth
xxxx
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(we are in) style wars='strcls'>***
critical considerations of style ='lgc'>='lgc'>--> think across subjectivities ='and'>& cultural practices
='strcls'>*="trms">aesthetics of mending='strcls'>*
mend='lgc'>: replacing a part or putting together what is torn or broken
(='lgc'>='lgc'>--> regarding ="nms">ajayeb, reparative, re="trms">figurative ="trms"nttrm="already,spread">reading of the ="trms">past, mending of ='strcls'>*those thing that seem beyond repair='strcls'>* ='lgc'>='lgc'>--> important for ="nms">Tehran's landscape of ="trms">affect and aspiration)
="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>: how arrangement of masculinity (='lgc'>='lgc'>~= acts of violence and wounding) might be ='strcls'>*styled otherwise='strcls'>*
="trms">literal ="trms">fashion victim of war hero
“every man” will put himself on the line, and earn his masculinity via rituals, ="trms">narratives, and professions that are predicted on brutality='lgc'>--and that he will do this without grievance or hesitation
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to be a man under such conditions, is to enter into a deeply gendered dialectic forged through acts of wounding and care that ="trms">demand “men” to hurt, and “women” to do the work of mending
...the ways ="trms">modern gender binaries synthesize sexual ="trms">difference
business of state violence='lgc'>: accepting ='thdf'>the notion that our identities are forged through ="trms">obligatory acts of barbarism
how each of us work to fix identities
to do the maintenance work that ="trms">modernity requires each of us
relic enduring centuries ='lgc'>='lgc'>--> cultural need to ="trms">materially substantiate the distance that lies between proper and improper forms of masculinity (dandy and war hero)
='strcls'>*="trms">routine and ="trms">spectacular acts of wounding that gender identities pre="trms">suppose='strcls'>*
='lgc'>--also='lgc'>='lgc'>--> attest to the critical will to desire ="trms">different forms of masculinity
(artifacts preserved in climate controlled bubbles survive time to tell many ="trms">stories)
conspicuous ornaments of legend
masculinities (and femininities) secured through woundings
(the work of) the maintenance of a particular form of gossip
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towel
complex ="trms">figuration of gendered ="trms">social ="trms">relations
which relics in contemporary ="nms">Iran are emblematic of how and why the gender binary is imperative='qstn'>?
...relentless and futile acts of tearing and repairing
='strcls'>*we need to ="trms">imagine how to restyle the ="trms">relation between wounding and care so we can start to transform the fabric of our ="trms">society='strcls'>*
(="ppl">="ppl">="trms"nttrm="search">Archer)
='at'>@="frds">Sina='lgc'>: deconstructing the work of mending ="nms">ajayeb
='lgc'>[stitches='lgc'>] pierces the substrate it is repairing, performing a modest violence upon what is to be mended, and reminding each of us of our sensitivity, vulnerability, and mortality
(Mark Newport)
linger in the cut produced by the suture (='lgc'>=/= patch over the proper wound)
(what kind of mending dares us='qstn'>?) to consider ="trms">different, less clear-cut paths of ="trms">relation and being (='lgc'>--='not'>✕='lgc'>='lgc'>--> masculinity's wounded duty)
="ppl">Freud's ="trms">fold of castration ="trms">anxiety, fetishism, and Oedipus complex un="trms">fold in feminized form of labor to stitch and sew, to mark the wounds that “men must suffer” ='lgc'>='lgc'>--> ="trms">fashion ="trms">material ritual, transforming and ideologically reinforcing femininity
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(="frds scrmbld">Janina's distinctive sartorial sensibilities)
(The Flash TV series charachers, each a free-="trms">agent entrepreneur, the personification of neoliberal ="trms">agency)
="prgrph">-performing the ="trms">affective venture and glamour labor, characteristic of the cultural industries today, (="trms">embodying the) hypermediated brand intrusion and suffusion
="prgrph">-using your own self-consciously branded personae to stand out in a ="trms"nttrm="cluster,club">cluttered field of visual noise
“famous for being famous” ='lgc'>='lgc'>--> the ="trms">fable of “that which captures our gaze, does not capture our respect”
="prgrph">-fame is built out of ="trms">material human bodies moving through physical space, engaging and ="trms">interacting with other ="trms">material human bodies. it is forged in a ="trms">social somewhere.
...photographed on the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right sidewalks at the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right times by the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right photographers
="prgrph">-persistent logic of image accumulation and circulation
="prgrph">-photographer’s exceptional status='lgc'>: the ‘decisive moment
="prgrph">-making yourself into a street style sensation through sheer force of will
='strcls'>***practice of distinction='strcls'>*** (='lgc'>='lgc'>--> you have to make it appear that other people are more ="trms">interested in you than you are in them)
...take someone’s photo, post it online, appropriate their ="trms">social capital, then ditch them and move on (a game played throughout the ="trms">fashion industry) ='lgc'><='lgc'>-- constant and well-managed visibility
(the misleading idea of) “style ='lgc'>='lgc'>==> to be picked out of a crowd” ='lgc'>[style, that little something extra as vague and indeterminate as Weberian charisma that most people simply do not possess='lgc'>]
="prgrph">-the ="trms">fashion photographer's eye='lgc'>: the ="trms">affective ="trms">instrument through which the photographers feels what she sees (intuitive, ="trms">embodied, automatic, as a style radar)
street style star ='lgc'><='lgc'>== the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right people like you
="prgrph">-what is new in new moment of public viewing='qstn'>? can we have a public moment (exhibition, etc.) and concider glamor and ="trms">fashion and ="trms">modernity coinciding with ="trms">technology and digital platforms='qstn'>?
(for me still the inner thoughts and public life are not b="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lured, ='thdf'>that is why i cannot post so quick online)
why use design as a template for reworking ethnography='qstn'>?
='strcls'>*the design process is generally oriented toward transforming (or cooking) “raw” information into “useful knowl="trms"nttrm="knowledge,Knowledge">edge,” a guided mutation of “mere ideas” into “workable concepts” or a “feasible design” that then becomes an “object” (in all possible meanings of the term) in the ="trms">world='strcls'>*
design='lgc'>: ="trms">techniques for “working out” and “working through”
charrette شارت
a balance between structure and flexibility
="lstsrd">1. active deconstruction='lgc'>: (to arrive at collaboratively, of the work's otherwise obscured underlying com="trms">position) to focus on='lgc'>:
="lsts lst1">•ethnographic ="trms">specifics
="lsts lst1">•theoretical frameworks
="lsts lst1">•(="trms">writing) style
="lsts lst1">•how arguments are constructed
="lsts lst1">•
="lstsrd">2. projection='lgc'>: (to engage a bit more ="trms">seriously in speculative, comparative, and synthetic thinking)
="lsts lst1">•="trms">sorting activity, posting on the wall
="lsts lst1">•identify ="trms"nttrm="cluster,club">clusters of concepts that could form new and potentially unexpected ="trms">categories
="lsts lst1">•to select a few of the ="trms"nttrm="cluster,club">clusters that you feel (individually and collectively) are useful for generating possible new avenues for speculation
="lsts lst1">•
="lstsrd">3. reconstruction='lgc'>: (dedicated to innovation)
to develop a “rapid prototype” for a new ethnographic/research form, ="trms">method, or mode, using the ="trms"nttrm="cluster,club">clusters of concepts they had identified as ="trms">interesting and useful for speculation
="lsts lst1">•thinking about possibilities for how (ethnographic/research) ="trms">material can be analyzed, argued, collected, or ="trms">presented, and needed to be something other than a ="trms">verbal description
="lsts lst1">•using pechakucha ="trms">presentation style (20 slides, 20 seconds each, a constraint intended to keep the students on their toes and to prevent dwelling on any single point for too long)
="lsts lst1">•="trms">presentation could tell us as much about how the group worked as much as what they ="trms">specifically worked on
developing various ways in which stakeholders (traditionally have little or no part in the production of ethnography/research='lgc'>: ="trms"nttrm="already,spread">readers, informants, the public) can be brought into the process of ="trms">crafting and meaningfully manipulating research/ethnographic ="trms">materials
slider ='lgc'>='lgc'>--> to “mix” and “remix” (ethnographic) ="trms">data
to fit their ="trms">contingencies
to leave open ="trms">agendas that might be brought to the ="trms">data
to create an infrastructure that allows to experience first-hand the theoretical constructs one uses in text
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https://ethnocharrette.wordpress.com/
='at'>#research group workshop ="trms"nttrm="already,spread">reading, charrette ="trms">method
take Nicholas ="ppl">Shapiro's “Attuning to the Chemosphere”
="lsts lst1">•to redesign pedagogical practices for training rese="trms"nttrm="search">archers
="lsts lst1">•collaborative initiatives in which research designs could be analyzed, experimented with, and transformed.
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“may all your problems be ="trms">technical” (said by Jim Gray oft-quoted U.S. computer ="trms">scientist)
='lgc'>=/= understanding what to build, for whom, for what purposes, and how their usage of the ="trms">technologies will evolve over time
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many artists today work within the regime of the stereotype, manipulating mass-cultural imagery ='lgc'>='lgc'>==> hidden ideological ="trms">agendas are exposed ='lgc'>[="trms">supposedly='lgc'>]
(artist's view='lgc'>:) “stereotype='lgc'> = something arbitrarily imposed upon the ="trms">social field” therefore something relatively easy to depose[...]