[...]ime

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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]

(?do you want me to be your)
worshiper
citizen
consumer
producer

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

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

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

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

stereotype --> rhetoric of intimidation --> it poses a threat to the artist --> the artist bears witness to the state of affairs --> signify threat to the audience --> gesture (regarded as threat) ~ *apotrope* (a gesture performed with the express purpose of intimidating the enemy into submission, #omen, apotropaic, averting the evil eye, to turn away harm, --> mithridatic) --> artwork is thus engineered to produce an immediate subjection, (by reiterating a stereotype) imprint the stereotype directly on the viewer's imagination + (through juxtaposition) force us to decode them

(Foucault's notion of) power = effective immobilization of the social body

(the idea of) woman immobilized (turned to stone) by the power of the gaze

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

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

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

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

Lacan's imaginary order: a dual relationship (symmetric & immediate opposite) between consciousness and its other (in the play of reflection in the mirror)

ego: imaginary construct by the capture of the image (in the mirror)
see yourself ==> you are petrified ~ *arrest*
...~->? scopic drive

(Lacan on) evil eye --> arrest movement and literally kill life

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

Lacan placing the moment of arrest prior to the moment of seeing --> what happens when we look at a picture : first an arrested gesture (a picture) then the act of seeing (completing the picture)

[*]to pose: to present onself to the gaze of the other as if one were already frozen (immobilized, suspended, a picture), **mimicing the immobilizing power of the gaze** --Owens--> pose forces the gaze to surrender
***to pose = to pose a threat*** ~ apotrope

artist reflects the stereotype back on its self --> to defeat an apotrope with an apotrope
is Kruger different than politically motivated artists (consciousness-raising)?
--Owens--> Kruger stages the techniques of stereotype (that interpolate her/him as subjects)
-is the viewer led or allowed to reject her work's address? ==?==> gesture of refusal --or?-- mobilization of the spectator


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Archer (philosopher of wardrobes, patterns and textility) on Owens's medusa effect ~~✕--> Calderwood's drawings *messy material semiotic* (figures that forcefully demand one's attention) --> queer pleasure to be caught in their dense but finely rendered patterns
-following the phallic loops & yonic openings (that obscure any semblance of a singular true body)

apotropaic stockings
جوراب زنانه بلاگردان

Kruger & Calderwood --Archer--> searing critique of gender identity and the ways that gendered stereotypes capture the body within a tight weave of politics and ideology

[*]medusa effect: a critical gesture located when the swipe of Perseus's sword just reaches the Gorgon's perfectly posed neck ==possibility==> infinite outcomes
-a transitory but potent act of resistance (lies between identify and difference)

Kruger's feminist-inflected pronoun --> refigure the personal pronoun's normal operative function ==> viewers dislodge themselves from the law of the letter ==expose==> language of gendered oppression's limits

find a way of articulating oneself beyond pronoun's strict logics (--> alternative subject position) =/= Calderwood --> *contingency of seeing* : “manipulating the intensity of certain optical patterns in order to scramble--or dazzle--those fields of vision that the ‘apparatus of the pattern’ is traditionally tasked with managing”

[*]gender: semiotic apparatus; representation of a relation (that of belonging to a class, a group, a category -de Lauretis), gender assigns to one entity (an individual) a position within a class ==> a position vis-a-vis other preconstituted classes

flooding the visual field ==> r[...]