[...]equence 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

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

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


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

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 ='lgc'>[='lgc'><='lgc'>-- they can't be more wronge='lgc'>]
(artist's self-grandious fantasy is that) “they pose a threat to those in power”

juxtapose
superimpose
="trms">interpose
='lgc'>='lgc'>==>
expose
oppose
depose

an artist like Kruger ='lgc'>='lgc'>--> ="trms">gesture (and not action) ='lgc'>--="ppl">Owens='lgc'>='lgc'>--> ='strcls'>*stereotype's transformation of action into ="trms">gesture='strcls'>*

="trms">positionality inscribed in ="trms">language by the personal pronouns ‘I/we’ and ‘you’ ='lgc'>='lgc'>--> manifesting the subject ="trms">positions of partners in a conversation
(the third-person pronoun is a ‘non-person’ designating an objective existence, and not a subject ="trms">position)

="prgrph">-="trms">linguistic class of deixis='lgc'>: here, now, this, that ='lgc'>[='lgc'>='lgc'>--> carnal discourse='lgc'>]
="prgrph">-="trms">linguistic class of deictic='lgc'>: I, you ='lgc'>[='lgc'>='lgc'>--> directly to the addressee='lgc'>: acquires body, weight, gravity='lgc'>]

she addresses ‘me’ ='lgc'>='lgc'>==> double address ='lgc'>: oscillate between the personal and the impersonal ='lgc'>~ in="trms">="trms"nttrm="cluster,club">clusion ='and'>& ex="trms">="trms"nttrm="cluster,club">clusion ='lgc'>='lgc'>--> to welcome...

="large lg10" stl="font-size:119%"> personal pronouns ='lgc'>='lgc'>~-> ‘shifter’ ='lgc'>==allow='lgc'>='lgc'>==> speakers to ='strcls'>***shift from ="trms">code to message='strcls'>*** (='lgc'>~ from the abstract to the concrete)

(for ="ppl">Barthes='lgc'>:) operation of messages of the mass media='lgc'>: ='strcls'>***to personalize all information, to make every utterance a direct challenge, not directed at the entire mass of ="trms"nttrm="already,spread">readers, but at each ="trms"nttrm="already,spread">reader in particular='strcls'>*** ='at'>@constantvzw streaming hypothesis
(‘The ="trms">Fashion ="trms">System’)

(a too common) artistic strategy='lgc'>: ='strcls'>*contradictory construction of the viewing subject by the stereotype='strcls'>*
(a too common) artistic address='lgc'>: ='strcls'>*struggle over the control and ="trms">positioning of the body in political and ideological terms='strcls'>* ='lgc'>[='lgc'>='lgc'>--> in which stereotype plays a decisive role ='at'>@="frds scrmbld">Laura='lgc'>]

(='qstn'>?do you want me to be your)
worshiper
citizen
="trms">consumer
producer

(for ="frds scrmbld">Foad, and for most contemporary artists='lgc'>:) ='lgc'>[='strcls'>*='lgc'>]stereotype='lgc'>: an ="trms">instrument of subjection, to produce ideological subjects that can be smoothly inserted into existing institutions of government, economy, and sexual identity
“stereotype='lgc'> = to disavow ="trms">agency”
(="ppl">Owens on Kruger)

images of the nonproductive body
stereotype of action='lgc'>: worker, rebel ='lgc'>--emphasising='lgc'>='lgc'>--> body's institutionalization='lgc'>: factory, family

for ="frds scrmbld">Laura, in fascist media regime='lgc'>: ‘the body is dismantled as a locus of practice and reassembled as a discontinuous series of ="trms">gestures and poses ='lgc'>='lgc'>--> “body='lgc'> = ="trms">semiotic field” ='lgc'>='lgc'>==> ='strcls'>*body inscribed into the register of discourse='strcls'>*

='lgc'>[artistic common views:='lgc'>]
(stereotype uses) deterrence, ='lgc'>[="trms">according to ="ppl">Baudrillard:='lgc'>] dissuasion, promoting passivity, receptivity, inactivity, docile bodies ='lgc'>[='lgc'><='lgc'>-- i challenged this in my master thesis on shyness and passivity in performance art='lgc'>]
stereotype replaces ='strcls'>*physical violence='strcls'>* with ='strcls'>*="trms">semiotic coercion='strcls'>* (='lgc'>='lgc'>--> ='thdf'>that is why it is often seen in art the use of direct physical contact to counter that idea)

="large lg3" stl="font-size:110%"> stereotype ='lgc'>='lgc'>--> ="trms">rhetoric of intimidation ='lgc'>='lgc'>--> it poses a threat to the artist ='lgc'>='lgc'>--> the artist bears witness to the state of affairs ='lgc'>='lgc'>--> signify threat to the audience ='lgc'>='lgc'>--> ="trms">gesture (regarded as threat) ='lgc'>~ ='strcls'>*apo="trms">trope='strcls'>* (a ="trms">gesture performed with the express purpose of intimidating the enemy into sub="trms">mission, ='at'>#omen, apotropaic, averting the evil eye, to turn away harm, ='lgc'>='lgc'>--> mithridatic) ='lgc'>='lgc'>--> artwork is thus engineered to produce an immediate subjection, (by reiterating a stereotype) imprint the stereotype directly on the viewer's ="trms">imagination ='lgc'>+ (through juxta="trms">position) force us to de="trms">code them

(="ppl">="ppl">Foucault's notion of) power='lgc'> = effective immobilization of the ="trms">social body

(='thdf'>the idea of) woman immobilized (turned to stone) by the power of the gaze

='strcls'>*medusa='strcls'>* had the power to turn to stone all who came within her purview (...is she the one who can turn stone back to person='qstn'>?)
to petrify, a producer of figures

="large lg4" stl="font-size:111%"> ="ppl">Owens's medusa myth='lgc'>: proto-photographic
Perseus makes the medusa's ="trms">relationship with her image indexical (and not simply iconic) ='lgc'>='lgc'>==> serve as the support for a long chain of discursive and ="trms">figurative events... ='lgc'>--violence='lgc'>='lgc'>--> the ='strcls'>*specular ruse='strcls'>* ='lgc'>['medusa effect'='lgc'>] whereby medusa is inserted into discourse ='lgc'>='lgc'>--> she becomes an object of depiction, ="trms">narration, analysis (she will never get a chance to tell her side of the ="trms">story)

medusa in='lgc'>:
="lsts lst1">•Perseus='lgc'>: (in Ovid) turn power into vulnerability and vulnerability into power
="lsts lst1">•="ppl">Freud='lgc'>: (in Das Medusenhaupt) displaced re="trms">presentation of female genitalia, as a fetish, an emblem of castration, girl's realization of her own ‘castration’ ='lgc'><='lgc'>== “to decapitate='lgc'> = to castrate”
="lsts lst1">•Helene Cixous='lgc'>: (in The ="trms">Laugh of the medusa) as apo="trms">trope='lgc'>: “we are going to show them ='lgc'>[prists='lgc'>] our sexts”
="lsts lst1">•="ppl">="ppl">Haraway='lgc'>: (in Tentacular Thinking='lgc'>: ="trms">Anthropo="trms">cene, Capitalo="trms">cene, Chthulu="trms">cene) the lady of the ="trms">beasts is a potent (apo="trms">trope='qstn'>?) ='lgc'>='lgc'>--> “dashing the twenty-first-century ships of the heroes ='lgc'>[motherless mind ="trms">children='lgc'>] on a living coral reef”, chthonic powers in Mediterranean and Near Eastern ="trms">worlds and beyond
="lsts lst1">•="ppl">Owens='lgc'>:

Kruger as a model of artist is like Perseus in medusa myth

="ppl">Lacan's ="trms">imaginary order='lgc'>: a dual ="trms">relationship (="trms">symmetric ='and'>& immediate op="trms">posite) between consciousness and its other (in the play of reflection in the mirror)

ego='lgc'>: ="trms">imagina[...]