[...]) 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.


="large lg2" stl="font-size:110%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

“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

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg1" stl="font-size:133%">
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...

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)

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

="large lg3" stl="font-size:111%"> (='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

="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'>:

="large lg4" stl="font-size:112%"> 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">imaginary construct by the capture of the image (in the mirror)
see yourself ='lgc'>='lgc'>==> you are petrified ='lgc'>~ ='strcls'>*arrest='strcls'>*
...='lgc'>='lgc'>~->='qstn'>? scopic drive

(="ppl">Lacan on) evil eye ='lgc'>='lgc'>--> arrest movement and ="trms">literally kill life

(psychological concept of) sature (to join two lips of a wound)='lgc'>: pseudo-identification of an initial moment of seeing and a terminal moment of arrest ='lgc'>--="ppl">Owens='lgc'>='lgc'>--> ='strcls'>*medusa effect='strcls'>*='lgc'>: ="trms">imaginary identification of the seer and seen (immediacy, capture, stereotype)

="large lg5" stl="font-size:152%"> ="ppl">Lacan placing the moment of arrest ="trms">prior to the moment of seeing ='lgc'>='lgc'>--> what happens when we look at a picture ='lgc'>: first an arrested ="trms">gesture (a picture) then the act of seeing (completing the picture)

='lgc'>[='strcls'>*='lgc'>]to pose='lgc'>: to ="trms">present[...]