[...]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 ==> refuse to lend themselves to the task of figuring things out ‘what is this?’

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

*discourse of desir* --Lyotard--> desire does not speak; it does violence to the order of the utterance

(?am i using the queer strategy of) **pattern-jamming** ==> nonbinary variance =/= proliferation of tick-boxes (identity politics)


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

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

***power is formally established and formally critiqued through the adaption or the obliteration of patterns*** ==> *pattern manipulation* so strategically necessary [@Laura, Elen] --> (Archer's) call to:
•to take advantage of those aesthetic practices that can direct attention away from a pattern's typical symbolic function (*or responsibilities to secure meaning and certain attending forms of power*)
•to aestheticize the pattern's capacity to function performatively (as a kind of critical figure that is always already inserted within the discourse of everyday life)

[in apass (we have to mark) how and where the negative knowledge about the reliability of linguistic utterance is made available (#feedback)]
(de Man:) the figural dimension of a text “gives the language considerable freedom from referential restraint, but it also makes it 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”

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

the *genital panic* (forever lodged within the heart of discourses on sexual or gendered 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



spaces that lie between the patterned (behaviors...)

[@Leo, heard so many times:] clear (but melancholic) call for the rearticulation of our desires outside capitalist logics of (re)production

using the trope of pattern to deconstruct the politics of desire

“conflict” is something that is desired(?)
queer desires might make something different of conflict(?)

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

phantom limb Grosz

(Nietzsche: entire evolution of) spirit = a question of the body (developement of a higher body) --> *the organic rising to yet higher levels*

body image:
(psychoanalytic conception of subjectivity -->) ‘mind’ & ‘body’ & ‘body image’
--> physical systems to the subject's access to bodily mobility
•cortical homunculus --> Freud
•imaginary anatomy --> Lacan
}--> genesis and functioning of the ego
[are my image assemblages about changing the body image?]

==> biology and neurophysiology are dependent on *physical processes* of transcription and signification

Grosz on the status of the body as a problematic and uncontainable term in biology and psychology

•(Egyptian) “ka" = soul: a copy of the human body (that is more ethereal and less dense than the physical body)
•Cartesian notion of soul (or mind): a ghostlike icon of the subject
•Aristotle's pneuma: finer or more subtle body than the coarsely material/materialistic body
•Christian notion of soul: the possibility of resurrection ==> privileged and formative link between *morphology of the soul* & *morphology of the body*


(Ambroise Pare:) mortification: ***continuity and consentiment of the dead parts with the living ones*** ==> phantasm limb

[*]body image: the absence of the knowledge of the position of limbs when the patient's eyes are closed (Weir Mitchell) --> faculty of language localized in the whole body (and not in the left hemisphere)
= *spatiotemporally structured and structuring model of the subject*, a “schema” that mediates between the subject's position and its behavior, synesthetically (visual or tactile) organized and represented


postural schema وضعى

postural model (of the body): a three-dimensional image that both registers and organizes the information provided by the senses regarding:
•the subject's body
•the subject's location in space (~ its posture)
•the subject's relation to other objects
--> body image registers *current* sensation also preserves a *record of past* impressions

the *body schema* is plastic, kinesthetically and synergetically organized sensations
= physiological dispositions + physiological processes


Schilder's model of body image
social and interpersonal attachments and investments, as well as libidinal energy, from a major part of one's self-image and conception of the body (--Grosz--> more amenable to the kind of sociohistorical and cultural analysis of the body feminists are interested in)
*body schema: experience of the “unity of the body” (self-appearance of the body), an anticipatory plan of (future) action in which a knowledge of the body's current position and capacities for action must be registered, perception + mental pictures + representations
*image of the human body = the picture of our own body which we form in our mind
--Freud--> somatic compliance: the organic body's amenability تمايل to psychical takeover, (impelled by the organic disturbance) psychological processes take over and *adopt the biological disturbance as their own and utilize it to epress psychical whishes and significances* (both conscious and unconscious)

whenever difficulty occurs regarding the recognition of different parts of the body (or the position of the body) it occurs not only in the subject's self-perception but also always in the perception of other's bodies as well (<-- is that why i perceive other bodies in the street like i do? my relation with fashion, blondies)


amputation of moveable functional extremities (almost every part of the body) ==> phantom limb (<-- Weir Mitchell)

{the greater the passage of time since the amputation[...]