[...]ich

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

="large lg2" stl="font-size:111%"> 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

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

(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'>~= 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)

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

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg4" stl="font-size:110%">
(="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'>==> 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'><== 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”

="large lg5" stl="font-size:117%">
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 g[...]