[...] 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)
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="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)
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'>==> 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”
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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'>==> 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”
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