[...]ographic
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

="large lg2" stl="font-size:110%"> (="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 lg1" stl="font-size:139%"> 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

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

(='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 attending forms of power='strcls'>*)
="lsts lst1">•to ="trms">aestheticize the pattern's capacity to function performatively (as a kind of critical figure that is always al="trms"nttrm="already,spread">ready inserted within the discourse of everyday life)

='lgc'>[in ="nms">apass (we have to mark) how and where the negative knowl="trms"nttrm="knowledge,Knowledge">edge about the reliability of ="trms">linguistic utterance is made available (='at'>#feedback)='lgc'>]
(="ppl">de Man='lgc'>:) the figural dimension of a text “gives the ="trms">language considerable freedom from referential restraint, but it also makes it ="trms">epistemologically highly suspect and volatile, since its use can no longer be said to be determined by considerations of truth and falsehood, good and evil, beauty and ugliness, or pleasure and pain”

(='qstn'>?how in our feedbacking instead of ="trms">linguistic we can be able to) manipulating the figure of the pattern ='lgc'>='lgc'>--> (in ="nms">apass we are constantly busy with) a way to critically and actively resist ideology (of block curator, ="frds scrmbld">Vladimir's settlement's ‘order of thing,’ the institution, etc.) or to critically ="trms">gesture toward and theorize the possibility of “another way”

="large lg3" stl="font-size:110%"> the ='strcls'>*genital panic='strcls'>* (forever lodged within the heart of discourses on sexual or gendered ="trms">difference...)

(to examine) the varied ways that pattern is used to put one in one's place
Nicki Green, Yayoi Kusama, Adriana Varejao, Yinka Shonibare, Craig Calderwood



="large lg4" stl="font-size:112%"> spaces that lie between the patterned (behaviors...)

='lgc'>[='at'>@="frds scrmbld"nttrm="Leonardo">Leo, heard so many times:='lgc'>] clear (but melancholic) call for the re="trms">articulation of our desires outside capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list logics of (re)production

using the ="trms">trope of pattern to deconstruct the politics of desire

“conflict” is something that is desired(='qstn'>?)
queer desires might make something ="trms">different of conflict(='qstn'>?)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg5" stl="font-size:121%">
="nms">phantom limb ="ppl">Grosz

(="ppl">Nietzsche='lgc'>: entire evolution of) spirit='lgc'> = a ="trms">question[...]