[...]o 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)

="large lg2" stl="font-size:112%"> 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

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

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

="large lg6" stl="font-size:120%">

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)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='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

="large lg1" stl="font-size:138%"> 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

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

="large lg14" stl="font-size:118%">

(="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 lg6" stl="font-size:127%"> “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

="large lg3" stl="font-size:112%">

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

="large lg4" stl="font-size:111%"> ='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 s[...]