[...]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

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

="large lg3" stl="font-size:110%"> (="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

="large lg4" stl="font-size:111%">

="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)

="large lg5" stl="font-size:124%"> ...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
[...]