I've written the sentence that I'm quite sure I'll spend the next two years revising:
"It is my hope that downloading feminist critical materialism as a utility to re-toggle media archaeology could produce relational methods better able to adjust for all the ways that media means and does—a deep material dynamism that has the capacity to fixate or “hold still” an object under analysis so to better disclose how it functions through practical, observable enactment, but that also has the charity to let an object go, to let it recede into the complex imbrication of material life so that one may observe—and be touched by—the agency of things."
There's all sorts of words in this I feel ill at ease about--"functions" being a huge one (since it seems to imply that things can "function on their own"), enactment another (perhaps a misuse of this terms as I employ it from Annmarie Mol's The Body Multiple--it's too soon to tell), and of course all the sensory terms, "observe", "touched", etc. There's a struggle in language to articulate something which I haven't even fully mentally conceptualized yet. But I'm somehow closer--there's something in this notion of "holding still" and "letting recede" that feels powerfully apt for my project (I especially like the implication that "holding still" nonetheless permits us the think of the object as still in movement, with borders undefined).
I'm excited to wonder at how working through this project will shift my lived relations to the world (to things and to people, to use a convenient, strategic shorthand). Whenever I struggle to write about critical materialism, I've discovered I hold out my hand over my keyboard (horizontal, flat, palm down) and bend and flex my fingers outward, and sort of wobble my hand--as if I'm thinking with my hand about how something might both "hold still" and "recede" through these micro-movements. It's a world of wonder...
If you live around NYC, mark your calendars for the NOW! Visual Culture Conference, being held May 31 - June 2 at New York University. This is the biennial conference of the International Association for Visual Culture. At the end of the 2010 Visual Studies Conference held in London two years ago, a proposition was put forth to inaugurate an international association for visual culture studies (it was a blast of a conference I was very lucky to be at, as the Editorial Assistant of the Journal of Visual Culture). Two years later...taadaa: Visual Culture Association in bloom.
It's going be a rad three days, and nothing quite beats New York at spring time--so come on down (or up or over!). There's no concurrent sessions, just one, long major event, so no stress of panel-hopping or missing "the good stuff". Check out the schedule here.
I must give a nod to my good friend and outstanding illustration history scholar, Jaleen Grove, who will be presenting on the panel "Locating the Object in Visual Culture Studies" I'm excited to see her take to the stage!
I just received an eagerly awaited package...a vintage, unopened Women's Ware software program from 1984.
Yes, the hanger comes with the software. It's styled into the packaging. The title is "Women's Ware", subtitled "(for modern men too!)". This software was distributed by Neon Software Company, which was founded (I believe) by a husband and wife team. The wife, Marie Norwood, allegedly came up with the idea of Women's Ware. She writes on the back:
"The only part of a computer program that should overwhelm you is the end result. That's why Women's Ware offers you the most sophisticated personal and home management programs in a unique format that's refreshingly uncomplicated. So pick a program. They're exciting, they're easy, and what's more, once you've learned one, you've mastered them all!"
This was just one of a suite of software packages that were part of the Women's Ware offered by Neon Software Company, including: Budget, Calendar, Checkbook, Directory, Filebox, Freefile, and Recipe (shown here). I owe MAJOR thanks (and dissertation acknowledgements) to Maureen Ryan for pointing me toward these artifacts.
I don't know where to begin, but I know I can't wait to try.