[...] different forms of masculinity

(artifacts preserved in climate controlled bubbles survive time to tell many stories)

conspicuous ornaments of legend

masculinities (and femininities) secured through woundings


(the work of) the maintenance of a particular form of gossip


towel
complex figuration of gendered social relations

which relics in contemporary Iran are emblematic of how and why the gender binary is imperative?

...relentless and futile acts of tearing and repairing

*we need to imagine how to restyle the relation between wounding and care so we can start to transform the fabric of our society*
(Archer)

@Sina: deconstructing the work of mending ajayeb


[stitches] 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 (=/= patch over the proper wound)

(what kind of mending dares us?) to consider different, less clear-cut paths of relation and being (--✕--> masculinity's wounded duty)

Freud's fold of castration anxiety, fetishism, and Oedipus complex unfold in feminized form of labor to stitch and sew, to mark the wounds that “men must suffer” --> fashion material ritual, transforming and ideologically reinforcing femininity

...................................

(Janina's distinctive sartorial sensibilities)
(The Flash TV series charachers, each a free-agent entrepreneur, the personification of neoliberal agency)
-performing the affective venture and glamour labor, characteristic of the cultural industries today, (embodying the) hypermediated brand intrusion and suffusion
-using your own self-consciously branded personae to stand out in a cluttered field of visual noise
“famous for being famous” --> the fable of “that which captures our gaze, does not capture our respect”
-fame is built out of material human bodies moving through physical space, engaging and interacting with other material human bodies. it is forged in a social somewhere.
...photographed on the right sidewalks at the right times by the right photographers
-persistent logic of image accumulation and circulation
-photographer’s exceptional status: the ‘decisive moment
-making yourself into a street style sensation through sheer force of will
***practice of distinction*** (--> you have to make it appear that other people are more interested in you than you are in them)
...take someone’s photo, post it online, appropriate their social capital, then ditch them and move on (a game played throughout the fashion industry) <-- constant and well-managed visibility
(the misleading idea of) “style ==> to be picked out of a crowd” [style, that little something extra as vague and indeterminate as Weberian charisma that most people simply do not possess]
-the fashion photographer's eye: the affective instrument through which the photographers feels what she sees (intuitive, embodied, automatic, as a style radar)
street style star <== the right people like you
-what is new in new moment of public viewing? can we have a public moment (exhibition, etc.) and concider glamor and fashion and modernity coinciding with technology and digital platforms?
(for me still the inner thoughts and public life are not blured, that is why i cannot post so quick online)



why use design as a template for reworking ethnography?
*the design process is generally oriented toward transforming (or cooking) “raw” information into “useful knowledge,” 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 world*
design: techniques for “working out” and “working through”


charrette شارت
a balance between structure and flexibility
1. active deconstruction: (to arrive at collaboratively, of the work's otherwise obscured underlying composition) to focus on:
•ethnographic specifics
•theoretical frameworks
•(writing) style
•how arguments are constructed
•
2. projection: (to engage a bit more seriously in speculative, comparative, and synthetic thinking)
•sorting activity, posting on the wall
•identify clusters of concepts that could form new and potentially unexpected categories
•to select a few of the clusters that you feel (individually and collectively) are useful for generating possible new avenues for speculation
•
3. reconstruction: (dedicated to innovation)
to develop a “rapid prototype” for a new ethnographic/research form, method, or mode, using the clusters of concepts they had identified as interesting and useful for speculation
•thinking about possibilities for how (ethnographic/research) material can be analyzed, argued, collected, or presented, and needed to be something other than a verbal description
•using  pechakucha 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)
•presentation could tell us as much about how the group worked as much as what they specifically worked on

developing various ways in which stakeholders (traditionally have little or no part in the production of ethnography/research: readers, informants, the public) can be brought into the process of crafting and meaningfully manipulating research/ethnographic materials

slider --> to “mix” and “remix” (ethnographic) data
to fit their contingencies
to leave open agendas that might be brought to the data
to create an infrastructure that allows to experience first-hand the theoretical constructs one uses in text

https://ethnocharrette.wordpress.com/
#research group workshop reading, charrette method
take Nicholas Shapiro's “Attuning to the Chemosphere”

•to redesign pedagogical practices for training researchers
•collaborative initiatives in which research designs could be analyzed, experimented with, and transformed.


...................................

“may all your problems be technical” (said by Jim Gray oft-quoted U.S. computer scientist)
=/= understanding what to build, for whom, for what purposes, and how their usage of the technologies will evolve over time

...................................

many artists today work within the regime of the stereotype, manipulating mass-cultural imagery ==> hidden ideological agendas are exposed [supposedly]
(artist's view:) “stereotype = something arbitrarily imposed upon the social field” therefore something relatively easy to depose [<-- they can't be more wronge]
(artist's self-grandious fantasy is that) “they pose a threat to those in power”

juxtapose
superimpose
interpose
==>
expose
oppose
depose

an artist like Kruger --> gesture (and not action) --Owens--> *stereotype's transformation of action into gesture*

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

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

she addresses ‘me’ ==> double address : oscillate between the personal and the impersonal ~ inclusion & exclusion --> to welcome...

personal pronouns ~-> ‘shifter’ ==allow==> speakers to ***shift from code to message*** (~ from the abstract to the concrete)

(for Barthes:) operation of messages of the mass media: ***to personalize all information, to make every utterance a direct challenge, not directed at the entire mass of readers, but at each reader in particular*** @constantvzw streaming hypothesis
(‘The Fashion System’)

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

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