[...]t 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'>*

="large lg2" stl="font-size:110%"> ='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

(='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'>:

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)

="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 onself to the gaze of the other as if one were al="trms"nttrm="already,spread">ready frozen (immobilized, suspended, a picture), ='strcls'>**mimicing the immobilizing power of the gaze='strcls'>** ='lgc'>--="ppl">Owens='lgc'>='lgc'>--> pose forces the gaze to surrender
='strcls'>***to pose='lgc'> = to pose a threat='strcls'>*** ='lgc'>~ apo="trms">trope

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


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

="ppl">="ppl">="trms"nttrm="search">Archer (philosopher of wardrobes, patterns and textility) on ="ppl">Owens's medusa effect ='lgc'>='lgc'>~='lgc'>~='not'>✕='lgc'>='lgc'>--> Calderwood's drawings ='strcls'>*messy ="trms">material ="trms">semiotic='strcls'>* (figures that forcefully ="trms">demand one's attention) ='lgc'>='lgc'>--> queer pleasure to be caught in their ="trms">dense but finely rendered patterns
="prgrph">-following the phallic loops ='and'>& yonic openings (that obscure any semblance of a singular true body)

="large lg3" stl="font-size:111%"> apotropaic stockings
جوراب زنانه بلاگردان

Kruger ='and'>& Calderwood ='lgc'>--="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>='lgc'>--> searing critique of gender identity and the ways that gendered stereotypes capture the body within a tight weave of politics and ideology

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

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

="large lg4" stl="font-size:111%"> find a way of ="trms">articulating oneself beyond pronoun's strict logics (='lgc'>='lgc'>--> alternative subject ="trms">position) ='lgc'>=/= Calderwood ='lgc'>='lgc'>--> ='strcls'>*="trms">contingency of seeing='strcls'>* ='lgc'>: “manipulating the intensity of certain optical patterns in order to scramble='lgc'>--or dazzle='lgc'>--those fields of vision that the ‘="trms">apparatus of the pattern’ is traditionally tasked with managing”

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

flooding the visual field ='lgc'>='lgc'>==> refuse to lend themselves to the task of figuring things out ‘what is this='qstn'>?’

(let's suspend) act of perceiving oneselffrom a particular, fixed place in order to open up ="trms">onto a sense of ="trms">imagination ='lgc'>[='lgc'><='lgc'>-- identity, identification, ="trms">positionality='lgc'>]

='strcls'>*discourse of desir='strcls'>* ='lgc'>--="ppl">Lyotard='lgc'>='lgc'>--> desire does not speak; it does violence to the order of the utterance

="large lg5" stl="font-size:161%"> (='qstn'>?am i using the queer strategy of) ='strcls'>**pattern-jamming='strcls'>** ='lgc'>='lgc'>==> nonbinary variance ='lgc'>=/= proliferation of tick-boxes (identity politics)


="lsts lst1">•modes of ornamentation
="lsts lst1">•="trms">systems of organization
patterns ='lgc'>='lgc'>--> repetitions ='lgc'>='lgc'>==> ="trms">naturalize the appearances of certain recurrences in life ='lgc'>='lgc'>==> stabilize (our notions)
='lgc'>[='strcls'>*='lgc'>]pattern='lgc'>: an essential forecasting tool, (through pattern's) rhythms we come to place bets on our future ='lgc'>[like the sun's cycle='lgc'>], maps of those terrains where belief most directly meets desire, where ="trms">aesthetics meets significance

stripes ='lgc'>='lgc'>--> capacity to serve as “a tool for setting things in order” (='lgc'>--="trms">Pastoureau='lgc'>='lgc'>--> between the lines a tangle of uncanny specters ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurk)
="prgrph">-stripe's ability (not simply to signify but) to formalize or figure the abnormal within medieval visual and ="trms">material culture ='lgc'>[a culture accustomed to transmitting visual messages along very ="trms">different frequencies='lgc'>: an image was created by superimposing successive levels, and, to ="trms"nttrm="already,spread">read it well, it was necessary to begin with the bottom level and, passing through all the ="trms">intermediary layers, end with the top on='lgc'>] (-what is noise for medieval visual culture='qstn'>?)
="prgrph">-with the stripe='lgc'>: the structure is the figure ='lgc'>='lgc'>==> force certain bodies into genuine non-place ='lgc'>='lgc'>--> fields of actual nonsense
="prgrph">-(="trms">modern stripe's clarity is a case of) how ideologically saturated, or un="trms">natural, the act of looking is
="prgrph">-(genealogy of stripe ='lgc'>='lgc'>--> ="trms">historical processes='lgc'>:) ='strcls'>*yesterday's noise ='lgc'>--into='lgc'>='lgc'>--> today's signal='strcls'>*

='strcls'>***power is formally established and formally critiqued through the adaption or the ob="trms">literation of patterns='strcls'>*** ='lgc'>='lgc'>==> ='strcls'>*pattern manipulation='strcls'>* so strategically necessary ='lgc'>[='at'>@="frds scrmbld">Laura, ="frds scrmbld">Elen='lgc'>] ='lgc'>='lgc'>--> (="ppl">="ppl">="trms"nttrm="search">Archer's) call to='lgc'>:
="lsts lst1">•to take advantage of those ="trms">aesthetic practices that can direct attention away from a pattern's typical ="trms">symbolic function (='strcls'>*or ="trms">responsibilities to secure meaning and certain [...]