[-empyre-] Queer Ethnography, Methods, and Play

Margaret Rhee mrheeloy at gmail.com
Sun Oct 20 04:13:49 AEDT 2019


Thank you everyone for these incredible and insightful posts, really moved
and will stay with these thoughts and projects for a long time.

I love evocation of birds or specifically pigeons by Jerry in terms of
Song’s work! I haven’t read it yet intrigued by the study and the notion of
weird. I love weird books especially by queers and women. Weird research
projects and frankly everything else is so uninteresting. I wonder about
the weird to STS?

In the STS/new media workshops I co-lead with Martha Kennedy as a grad
student, I remember how we called it “mutated text” without needing to
place feminist, queer to make it, because it was already queer in some
ways. Queer as messy, as “TOO MUCH.” Love excess.

I’ve been turning to animals and birds in science fiction and I think about
now Kale’s current exciting work on fish and canneries and wonder if you
can speak more to the intervention of fish to questions like coloniality,
gender, nation in generative ways.

I’ve also thought of Jerry’s compelling work on dust and ethnography as
poetic and a queer intervention, and I wondered if you’d consider it as a
queer study or if queer theory plays a role?

My experience with ethnography includes early work as a grad student in the
jail setting, some of this writing was published in journal articles with
the sociological team I worked with.  My dissertation and book project is
primarily archival as media analysis although I hope to return to
ethnography in my next study on actors and technologists of color.

In one chapter of my book project I return to auto-ethnography to theorize
gender, AI, and light. Specifically I return to the experience of
distributing my first (and currently) only short documentary film on drag
kings and the questions around gender. From film festival directors who
said I was too feminine to make such a film, to the program which referred
to the performers as women and not trans and genderqueer. We were appalled
and in retracing that experience I felt auto ethnography felt the closest
but open to other terms. I’m wondering about Erica’s beautiful thoughts on
embodiment and auto- ethnography and if you could speak to femme identity
when writing and the experience of reception?

Fir anyone interested you can watch the film here and it stars Jai Arun
Ravube, Ray Ray Ebora, and Cat Dinh: All of Me: Creating an Asian American
Drag King Troupe” on Vimeo: https://vimeo.com/43092841?ref=em-share

I’m thinking more about film and the relationship of filmmakers engaged in
scholarship and theory. I’m moved by Chase’s interventions in the archive
and film through *Framing Agnes*. I’m wondering if you can talk about the
role of collaboration and if the archival materials lend itself organically
to film and how it shaped your process?

Thanks again everyone for your interventions, and this all.


On Fri, Oct 18, 2019 at 9:40 AM Jerry Zee <jzee at ucsc.edu> wrote:

> ----------empyre- soft-skinned space----------------------
>  Erica: "I took up the auto partly as defense/warning: hey, a bunch of me
> is coming. Read it or don’t. Embarrassing to admit, and damn, gender
> everywhere: display, punishment, shame, wiles."
>
> This shook me - thank you for sharing it, I felt it somewhere probably
> also embarrassing to admit and damn. A few quick thoughts -
>
> There is something so compelling to me about "auto-" as a disclaimer, an
> almost apology, a gesture that both warns and is sheepish about doing so.
> It's so polyvalent and affectively complex, and it also asks that you sit
> in these weird feelings as *part *of the work of a reader. One of my
> favorite things to think with is Hoon Song's very very weird book *Pigeon
> Trouble*, an ethnography around this weird pigeon-based hunt-event in
> Appalachian Pennsylvania. He is birdphobic. And his writing is laced with
> awkwardness, doubt, and the suggestion (maybe I'm reading this into it)
> that *all ethnography *is an exercise in a kind of mental illness, of bad
> feelings. But for him, that becomes a way of writing, an epistemology that
> is also an ethic of work.
>
> The reason I think about this is that the *auto* in ethnography as you
> put it seems like it has nothing at all to do with either an attempt at
> asserting authority through "my experience," which strikes me as being both
> weirdly masc and also a bit aggrieved/defensive (is masc aggrievement
> redundant??). But rather in your use it seems like a way of communicating,
> pleading, hoping toward some reader. This is the WORST example but you know
> in Carly Rae Jepsen's song "Too Much," she keeps saying she's too much and
> then wondering if she's too much, and then asserting her right to be too
> much. It moves between a provisional courage in self-assertion, to an
> embarassed apologia, to a legitimate worry, to a way of creating a
> relational space that's like *all of these things OMG i'm so sorry I'm
> doing a reading of you through a reading of Carly Rae Jepsen*. Anyway it
> makes me feel like maybe auto-ethnography in this way is AMAZING as a
> complex literary, ethical, and relational stance, and profoundly *not *a
> reassertion of that I who arrogates the authority to speak as if I were
> already whole.
>
> On Thu, Oct 17, 2019 at 7:32 PM Erica Rand <rednailsblackskates at gmail.com>
> wrote:
>
>> ----------empyre- soft-skinned space----------------------
>> A brief post to say, Jerry, thanks  so much for that gorgeous description
>> of ethnography.   Gives me a lot to think about in terms of what I imagine
>> I’m differentiating with the “auto” if my understanding of ethnography is
>> in harmony with yours—and simultaneously shaken, in the making. Going to
>> think a lot more but what grabs me first is a suspicion that having been
>> vilified a fair amount for me in my work, I took up the auto partly as
>> defense/warning: hey, a bunch of me is coming. Read it or don’t.
>> Embarrassing to admit, and damn, gender everywhere: display, punishment,
>> shame, wiles.
>>
>> And, as you suggest, I think, a misrepresentation of ethnography in the
>> process.
>>
>> Thanks thanks.
>>
>> Erica
>>
>> Sent from my iPhone
>>
>> On Oct 17, 2019, at 10:49 AM, Jerry Zee <jzee at ucsc.edu> wrote:
>>
>> ----------empyre- soft-skinned space----------------------
>>
>> As the question of ethnography occupies us, I sense a lovely lilting
>> between the different takes, uptakes, and displacements of the notion. From
>> other responses:
>>
>>
>> Chase: "The porous borders between autobiography and ethnography. The
>> work is informed by history, yet inhabited and ultimately haunted by the
>> contemporary. As a result, the logics of authorship are constantly
>> shifting: between me, the actors, the subjects from history, and the
>> representational technologies."
>>
>> Kale: "Ssorin Chaikov suggests that we think about ethnography as a kind
>> of "conceptual art practice.""
>>
>> I tell my students that all ethnography is also autobiography, in two
>> senses, neither of which is "auto-ethnography," a term I sort of balk at.
>> First, in the sense that if knowledge is situated and ethnographic
>> knowledge is a play of awkward immersions, being-there and dissociation,
>> and being shaken in relation to the heterogeneity of a friend or
>> interlocutor's world, then 'situatedness' can be understood to be something
>> that's not just 'position,' as if that could be named in a series of
>> sociological descriptors. It would mean, instead, that even as one
>> describes a world, pieces it and conjures it in ethnographic work, one is
>> consistently disclosing something of themself through the concerns that
>> bubble forth, twist, and seem to matter. This is true even in cases where
>> the ethnographer is not especially present as an I, as a character. A
>> second sense of the autobiographical in ethnography then is that if
>> ethnography is a work of convergent divergence (our encounter changes the
>> way something matters to me, but not necessarily in a direction that arcs
>> toward me agreeing or becoming or identifying with you), ethnography is a
>> mode of becoming-self through its encounter with something else. It is
>> self-making in tandem.
>>
>> Kale, that part of Ssorin-Chaikhov has always felt lovely to me,
>> especially because it slowly pries apart the overlap of ethnography and
>> some crude empiricism: what is at stake is not simply gathering
>> information. Ethnography has to be understood as a practice of assembling
>> and unfolding worlds and selves, both plural, or rather, both more than 1
>> and less than two. Where is the conceptual art practice? Is it in seeing in
>> some predicament the possibility of interrupting the stories we might
>> otherwise tell of it?
>>
>> On Thu, Oct 17, 2019 at 10:32 AM Chase Joynt <chase.joynt at gmail.com>
>> wrote:
>>
>>> ----------empyre- soft-skinned space----------------------
>>>
>>> I feel persuaded by Jerry’s summary of ethnography as the work of
>>> encounter and incentivized by Kale’s uptake of the method as a conceptual
>>> art practice. As a scholar-practitioner steadfastly positioned in between
>>> disciplines – and resulting legacies and legibilities – I read each
>>> rebranding above as a call for methodological spaciousness and receptivity.
>>> I am reminded of a moment while shooting the Agnes project that feels
>>> relevant to our conversation. In a preproduction meeting with Angelica Ross
>>> (actor, activist, entrepreneur, moderator of the recent Presidential Forum
>>> on LGBT issues, current star of American Horror Story**), I offered my
>>> understanding of the person from history she was playing: “Georgia is
>>> black, working class, partnered, ex-military…” Angelica soon interrupted me
>>> to say, “I know her.” We smiled at each other, and I stopped my summary.
>>> This moment is emblematic of the project method, which I situate in the
>>> porous borders between autobiography and ethnography. The work is informed
>>> by history, yet inhabited and ultimately haunted by the contemporary. As a
>>> result, the logics of authorship are constantly shifting: between me, the
>>> actors, the subjects from history, and the representational technologies.
>>>
>>>
>>> ** I would be remiss not to give you more reason to Google…
>>>
>>>
>>> On Wed, Oct 16, 2019 at 1:24 PM Kale B. Fajardo <kalefajardo at gmail.com>
>>> wrote:
>>>
>>>> Hi Everyone,
>>>>
>>>> Thank you, Margaret Rhee, for inviting me to participate on this
>>>> dialogue on queer/ethnography/play and thank you to all who join in the
>>>> conversation and read our posts!
>>>>
>>>> Like Erica, I'm returning to some things I started as a younger
>>>> ethnographer/grad student and when I was more centrally situated in the
>>>> field of cultural anthropology. I have been in the field of American
>>>> Studies and Asian American Studies as an Assistant and now Associate
>>>> Professor at the University of Minnesota, Twin Cities since 2005 and my
>>>> work is pretty interdisciplinary. I'm now getting back into visual
>>>> anthropology and photography (two things I felt strongly about as a grad
>>>> student at UC, Santa Cruz, but didn't centrally pursue because my research
>>>> on "Filipino seafaring, masculinties, and globalization" were already
>>>> unwieldy and I was trying to "demonstrate mastery" in these areas, so I
>>>> didn't prioritize visual anthro or photography. It was totally my loss!)
>>>>
>>>> To make up for lost time, these days, I'm thinking about Nikolai
>>>> Ssorin-Chaikov's ideas around "conceptual ethnography." Ssorin Chaikov
>>>> suggests that we think about ethnography as a kind of "conceptual art
>>>> practice." This really speaks to me in how I have ben approaching
>>>> ethnography and fieldwork (even prior to reading Ssorin-Chaikov). When I
>>>> read it, I thought Wow! I've found my people in anthropology! (To be
>>>> honest, I have really been more in conversations that are situated in
>>>> Philippine Studies, Asian American Studies, and queer and trans studies),
>>>> so it was really exciting to learn about Ssorin-Chaikov.
>>>>
>>>> I just got back from Astoria, Oregon where I played around with
>>>> Ssorin-Chaikov's ideas concerning conceptual ethnography. (I'll explain how
>>>> shortly.) I've also been inspired by Dawoud Bey's photographic practice in
>>>> "Night Coming, Tenderly, Black" (2019) where Bey re-imagined what Black
>>>> folks escaping slavery may have seen as they came up north. Most of the
>>>> photos I saw in Night Coming, Tenderly, Black were photographed at night
>>>> (b/c Black runaways/fugitives from slavery had to avoid getting caught.)
>>>>
>>>> In my case, I've been conducting ethno-historical research on Filipino
>>>> migrant men in the 1920s and 30s who worked in Astoria's fish canneries.
>>>> There's not a lot of research on this. I'm interested in the "down time"
>>>> these men experienced (so *non-working time*). I'm interested in migrant
>>>> moments of rest, reflection, pleasure, play, and stillness. What came to
>>>> mind is that the Filipino men would have had down time before or after
>>>> work. Thus, this past weekend, I took photographs at an old cannery site in
>>>> Astoria on the Columbia River at dusk and at sunrise.
>>>>
>>>> I also used to work on a boat in the San Francisco Bay (at the National
>>>> Maritime Museum - when I was ABD), so for me, doing photography at sunrise
>>>> and dusk was super fun and reminded me of when I literally worked on the
>>>> Bay and could watch the most beautiful sunrises. I set my alarm, packed my
>>>> little dog, and went on a photographic-ethnographic "adventure" and thought
>>>> about the Filipino men who used to work in Astoria's canneries.
>>>>
>>>> I'll be presenting some of these photos at the upcoming AAA meetings in
>>>> Vancouver, BC. Hope this sparks some other thoughts in folks. To be
>>>> continued...
>>>>
>>>> Best,
>>>> Kale
>>>>
>>>> On Wed, Oct 16, 2019 at 12:50 PM Chase Joynt <chase.joynt at gmail.com>
>>>> wrote:
>>>>
>>>>> ----------empyre- soft-skinned space----------------------
>>>>>
>>>>> Hi all,
>>>>>
>>>>>
>>>>> Thanks so much for the invitation to join you this week. My current
>>>>> film project, Framing Agnes, is inspired by years of ongoing research in
>>>>> the archive of Harold Garfinkel, a sociologist working at the UCLA Gender
>>>>> Clinic in the 1950-60s. Garfinkel’s 1967 case study of Agnes is broadly
>>>>> understood as the locus classicus of sociological research on transgender
>>>>> people, as well as the building block for social constructionist theories
>>>>> of gender. The film utilizes the continued relevance of Agnes as a
>>>>> springboard to consider the legacy of transgender representation in the
>>>>> contemporary moment.  Made in collaboration with University of Chicago
>>>>> sociologist Kristen Schilt, the film reveals never-before-seen case files
>>>>> we found alongside Agnes in the archive, and charges contemporary
>>>>> trans-identified artists with the task of inhabiting these historical
>>>>> subjects. When exhibiting the work in public, I often encounter questions
>>>>> about ethics and authenticity, and am excited by the ways in which the
>>>>> project puts pressure on people’s understanding of historical truth.
>>>>> Narrations-of-self produced in clinical settings for the purpose of seeking
>>>>> approval for services are never authentic, but rather performative and
>>>>> strategic, ever mediated through the logics of the surveilling system. (For
>>>>> further reading, Dean Spade’s ‘Mutilating Gender’ is a great exploration of
>>>>> these stakes, and in fact uses the case of Agnes as example.) As we
>>>>> continue conversation this week about play, I’m interested in these
>>>>> pressure points, and the ways in which art/moving image/collaboration can
>>>>> make visible the structural interferences which impact the telling of any
>>>>> history.
>>>>>
>>>>>
>>>>> A trailer for Agnes is available on my website, should it be of
>>>>> interest: Chase joynt dot com.
>>>>>
>>>>> On Wed, Oct 16, 2019 at 10:40 AM Jerry Zee <jzee at ucsc.edu> wrote:
>>>>>
>>>>>> ----------empyre- soft-skinned space----------------------
>>>>>>
>>>>>> Hello all, and thank you for having me,
>>>>>>
>>>>>>
>>>>>>
>>>>>> I’m looking forward to riffing along with others. But first, a few
>>>>>> thoughts on ethnography, lightly sparked by the soft injunction to think
>>>>>> with Erica’s skating as play, and how this sits with, skirts, or displaces
>>>>>> ethnographic practice.
>>>>>>
>>>>>>
>>>>>>
>>>>>> I’m trained as an anthropologist, with ethnography as the
>>>>>> methodological center of that disciplinary practice. What people call
>>>>>> ethnography might mean a lot of things. For some people it stands of a
>>>>>> qualitative research practice, opposed to, say, surveys, and oriented
>>>>>> toward truth at granular scales. For others it’s a kind of deep hanging
>>>>>> out, a phrase that suggests both ease and rigor, which gets at something of
>>>>>> the weirdness of ethnographic work. To me, I like to think of ethnography
>>>>>> as a work of encounter. More than a question of data gathering, it’s a
>>>>>> matter of the thought or insight or realignment that could not have
>>>>>> happened unless you were there, somewhere. It’s a work of allowing your
>>>>>> world and thinking to be permutated by someone else’s.
>>>>>>
>>>>>>
>>>>>>
>>>>>> Two quick thoughts. My work involves exploring political, cultural,
>>>>>> and ecological worlds that take shape with strange modern weather. I’m
>>>>>> especially interested in massive dust storms that form in China’s interior
>>>>>> hinterlands, pass over the country, then surge across the Pacific. As they
>>>>>> do, they create unexpected relations, reorganize the conditions of
>>>>>> political and physical life, and have folks turning their attention to the
>>>>>> places where earth and sky become one another.
>>>>>>
>>>>>>
>>>>>>
>>>>>> I realized as I was working that I wasn’t studying, say, scientists
>>>>>> or farmers interested in storms. Instead, I was moving through a weird crew
>>>>>> of folks who were perplexed by dust, but in ways that were different than I
>>>>>> was. Learning about those reorganized mine, offering me weird an unexpected
>>>>>> ways of thinking about materials, or sometimes finding myself deploying
>>>>>> some idea that had come through the attention of some people to their land
>>>>>> to suddenly understand air differently. Ethnography here: a play of
>>>>>> displacements, bound in a delicate parallax toward the same thing.
>>>>>>
>>>>>>
>>>>>>
>>>>>> And to return to Erica’s skating and the matter of courage. I think
>>>>>> it’s interesting because *doing *ethnography has sometimes felt like
>>>>>> play, but, during fieldwork, not often like fun: more like an activation of
>>>>>> every kind of latent social anxiety. Other people describe it as developing
>>>>>> deep friendships, which sometimes happens. But for me it was emotionally
>>>>>> complex and often disassociating, including that it involved me being
>>>>>> not-out for the first time in my adult life. I wonder what courage in such
>>>>>> a conundrum may have looked like.
>>>>>>
>>>>>> On Wed, Oct 16, 2019 at 10:00 AM Erica Rand <erand at bates.edu> wrote:
>>>>>>
>>>>>>> ----------empyre- soft-skinned space----------------------
>>>>>>>
>>>>>>> Hi everyone,
>>>>>>>
>>>>>>> Thanks for the opportunity to join the conversation on queer
>>>>>>> ethnography, methods, and play. I’m thinking about this a lot lately, as
>>>>>>> changes in my figure skating life and my body—one chased and avidly
>>>>>>> pursued; the other one involuntary/unsought—have caused me to return to
>>>>>>> (re-up and revisit) an autoethnographic project begun in 2005 that turned
>>>>>>> into “Red Nails, Black Skates: Gender, Cash, and Pleasure On and Off the
>>>>>>> Ice” (2012).
>>>>>>>
>>>>>>> That project, which involved participant-observation research in
>>>>>>>  adult (ie grown-up vs triple-xxx) figure skating, grew partly from my
>>>>>>> desire to play more. Maybe I could be brave enough to compete if I had a
>>>>>>> research project to help me overcome fear and shyness. Plus, I could
>>>>>>> justify skating as my job. (No I can’t join you in pseudo-collaborative
>>>>>>> institutional planning; I have to work on my loop jump and camel spin.)
>>>>>>>
>>>>>>> Now I generally skate for pleasure only. Pleasure sort-of in that
>>>>>>> skating way: You’ve got to be up for cold, bruises, frustration as well as
>>>>>>> exhilaration, thrill, wind on your skin. I’ve got to wrest queer femme
>>>>>>> pleasures, and they are mighty, from figure-skating’s tweaked version of
>>>>>>> racialized heterofemininity. Boyish figure made girlish ideal through
>>>>>>> athletic necessity. Muscle development thwarting white fragility oops
>>>>>>> balletic grace.
>>>>>>>
>>>>>>> Then this happened: I started skating pairs with a non-binary
>>>>>>> skating partner. Navigating the rules itself will be interesting. Start
>>>>>>> with gender markers that do and don’t match gender identities, and with
>>>>>>> neither markers or identities adding up to the M/F norm for testing and
>>>>>>> competition. (But where, how, what is written in the rulebooks, not totally
>>>>>>> clear.)
>>>>>>>
>>>>>>> And meanwhile this happened: my body hip-checked my queer gender
>>>>>>> when menopausal hormone changes disrupted a cushy gender/body relationship.
>>>>>>>
>>>>>>> Then, take it all onto the ice. But our 300-word allotment is short!
>>>>>>> More later.
>>>>>>>
>>>>>>> Erica
>>>>>>> --
>>>>>>> Erica Rand
>>>>>>> Professor of Art and Visual Culture and of Gender and Sexuality
>>>>>>> Studies
>>>>>>> she/her
>>>>>>>
>>>>>>> From: Margaret Rhee <mrheeloy at gmail.com>
>>>>>>> Date: Mon, Oct 14, 2019 at 3:46 PM
>>>>>>> Subject: Queer Ethnography, Methods, and Play
>>>>>>> To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au>
>>>>>>>
>>>>>>>
>>>>>>> Many thanks again to Maria, Lynne, Truong, and Kenji for this
>>>>>>> discussion on Poetry and Play, I hope the conversation continues into this
>>>>>>> week's continuation into play through the lens of queer and trans theory,
>>>>>>> methods, and ethnography.
>>>>>>>
>>>>>>> For this week and the month's discussion, we're interested in
>>>>>>> artists, thinkers, and activists with practices that cross over boundaries
>>>>>>> and intervene in dichotomous logics. With attention to justice, we explore
>>>>>>> how multiple forms of art practices prompt us to reimagine different kind
>>>>>>> of worlds, as strategy and survival. We're honored and grateful to our
>>>>>>> participants this week Chase Joynt, Erica Rand, Jerry Zee, and Kale B.
>>>>>>> Fajardo for engaging in this topic.
>>>>>>>
>>>>>>> Through interventions in queer and trans film, archival research,
>>>>>>> performance and writing in Chase's work that intervenes in the historical
>>>>>>> archive, to embodied forms of ethnographic and auto-ethnographic
>>>>>>> queer writing and athletics in Rand's interventions in skating,
>>>>>>> Kale's research and visual ethnographic interests in environmental
>>>>>>> humanities with photography and writing with the ocean, and the crossing
>>>>>>> social scientific methods and borders through questions of the environment
>>>>>>> and Asia in Jerry's scholarship and thinking.
>>>>>>>
>>>>>>> Our participants provide vital interventions in their work. I invite
>>>>>>> them to share further, and if and how play impacts their approaches and
>>>>>>> creative practices?
>>>>>>>
>>>>>>> *On Practice and Play: Gestures Across Genres *
>>>>>>>
>>>>>>> In this month's -empyre- forum, we take up the question of
>>>>>>> productivity and and the politics of play, and how playing across genres,
>>>>>>> mediums, forms, disciplines, and departments, etc. makes for new kinds of
>>>>>>> innovative art, thinking, and community; and in doing so, better intervenes
>>>>>>> and gestures toward transformative futures. The current conspiracy-us
>>>>>>> versus them- culture perhaps exemplifies the problem of singular thinking
>>>>>>> and the need for creative, eclectic, and innovative practices more than
>>>>>>> ever. We’re interested in artists, thinkers, and activists with practices
>>>>>>> that cross over boundaries and intervene in dichotomous logics. With
>>>>>>> attention to justice, we explore how multiple forms of art practices prompt
>>>>>>> us to reimagine different kind of worlds, as strategy and survival.
>>>>>>> Initially inspired by Tony Conrad's work, his practice spans across film,
>>>>>>> music, writing, and sculptures, we playfully ask how play lends itself to
>>>>>>> more libratory ways of creation and practice.
>>>>>>>
>>>>>>> We begin with the first week on media and new media art in
>>>>>>> conversation. with Tony Conrad's playful work across mediums, we then move
>>>>>>> into a second week asking questions on poetry and playing across the
>>>>>>> visual, cinematic, and theoretical, the third week is dedicated to the
>>>>>>> theme of ethnography across forms such as photography, film, and poetry,
>>>>>>> the forth week focuses on the ways artists advocate for decolonial and
>>>>>>> racial resistance through playing across genres and forms. While seemingly
>>>>>>> diverse, we hope the loosely organized topics will lend itself to
>>>>>>> connections between the weeks, and across the genres and themes presented.
>>>>>>> With attention to questions such as capital, creativity, institutional
>>>>>>> critique, and justice, we’re honored to have the following artists and
>>>>>>> thinkers join us for this conversation and reflect on the possibilities of
>>>>>>> practice, gestures, and play.
>>>>>>>
>>>>>>> We also invite our -empyre- subscribers, whose own work broadly
>>>>>>> resonates with the themes of practice and play, to join the conversation.
>>>>>>> What are the ways your practice has played or plays across genres? Have you
>>>>>>> faced institutional challenges in crossing disciplinary divides, and if so,
>>>>>>> how did you overcome them? Is play and practice productive? We explore this
>>>>>>> topic of play through four loose themes. We welcome our guests and all -
>>>>>>> empyre- subscribers to actively participate and post this month and
>>>>>>> share your practices and experiences of playing across genres and any
>>>>>>> questions that arise. We look forward to the conversation.
>>>>>>>
>>>>>>> *Queer Ethnography, Methods, and Play *
>>>>>>>
>>>>>>> *Biographies *
>>>>>>>
>>>>>>> *Chase Joynt*
>>>>>>>
>>>>>>> Chase Joynt is a moving-image artist and writer whose films have won
>>>>>>> jury and audience awards internationally.  His latest short film, *Framing
>>>>>>> Agnes*, premiered at the 2019 Tribeca Film Festival, won the
>>>>>>> Audience Award at Outfest in Los Angeles, and is being developed into a
>>>>>>> feature film with support from Telefilm Canada’s Talent to Watch program.
>>>>>>> Concurrently, Chase is in production on a feature-length hybrid documentary
>>>>>>> about jazz musician Billy Tipton, co-directed with Aisling Chin-Yee.
>>>>>>> Joynt’s first book *You Only Live Twice* (co-authored with Mike
>>>>>>> Hoolboom) was a 2017 Lambda Literary Award Finalist and named one of the
>>>>>>> best books of the year by *The Globe and Mail *and CBC. His second
>>>>>>> book, *Conceptualizing Agnes* (co-authored with Kristen Schilt), is
>>>>>>> under contract with Duke University Press.
>>>>>>>
>>>>>>> With projects supported by the Canada Council for the Arts and the
>>>>>>> Andrew W. Mellon Foundation, Chase’s work is distributed by the Canadian
>>>>>>> Broadcasting Corporation (CBC), the Canadian Filmmakers Distribution Centre
>>>>>>> and VTape.
>>>>>>>
>>>>>>> *Erica Rand *
>>>>>>>
>>>>>>> Erica Rand is a professor of Art and Visual Culture and of Gender
>>>>>>> and Sexuality Studies at Bates College. Her writing includes Barbie’s
>>>>>>> Queer Accessories (1995), a study of the doll’s history and
>>>>>>> manufacture in relation to corporate and consumer meaning-making; The
>>>>>>> Ellis Island Snow Globe (2005), a queer, anti-racist alternative
>>>>>>> tour of Ellis Island and the Statue of Liberty; and Red Nails Black
>>>>>>> Skates: Gender, Cash, and Pleasure On and Off the Ice (2012), a
>>>>>>> collection of short essays grounded in participant-observation research in
>>>>>>> adult figure skating. She serves on the editorial board of Radical
>>>>>>> Teacher and is currently working on The Small Book of Hip Checks on
>>>>>>> Queer Gender, Race, and Writing, in which autoethographic fragments
>>>>>>> bump up against other engagements, working to make muscle memory of
>>>>>>> experimentation against traditional ideas of heft and fluff.
>>>>>>>
>>>>>>> *Jerry Zee *
>>>>>>>
>>>>>>> I am an anthropologist of environment and politics. I explore
>>>>>>> embroilments of land and air as openings into political experiment. My
>>>>>>> research tracks the substantial dynamics of sand, dust, and wind as a way
>>>>>>> of gaining insight to contemporary environmental politics in China and
>>>>>>> downwind.
>>>>>>>
>>>>>>> I work, in my research, with scientists, engineers, foresters,
>>>>>>> farmers, artists, and breathers of all kinds. Overall, I wonder over how an
>>>>>>> avowedly post-natural contemporary meteorology displaces analytic habits
>>>>>>> and ways of asking inherited from a more confident social science, and,
>>>>>>> through this, I ask what anthropology has already been becoming in this
>>>>>>> strange weather.
>>>>>>>
>>>>>>> *Kale Fajardo *
>>>>>>>
>>>>>>> I'm an Associate Professor of American Studies and Asian American
>>>>>>> Studies at the University of Minnesota, Twin Cities. (Pronouns:
>>>>>>> He/Him/His.) I received my PhD in cultural anthropology from the University
>>>>>>> of California, Santa Cruz. In graduate school, I focused on visual
>>>>>>> anthropology, postcolonial studies, gender/sexuality studies, and Asian
>>>>>>> American Studies. I have a Bachelors of Science degree in Human Development
>>>>>>> Studies from Cornell University, with concentrations in Southeast Asian
>>>>>>> Studies and feminist studies. I'm currently working on my second book
>>>>>>> entitled, _Fish Stories: Photos/Essays from St. Malo to Manila Bay_. In
>>>>>>> this transnational research project, I engage with the “environmental
>>>>>>> humanities” and I'm also returning to my past training and passions in
>>>>>>> visual anthropology. In _Fish Stories_, I photograph, write about and
>>>>>>> theorize the intimacies and interconnections between “Filipinx, fish, and
>>>>>>> marine ecologies” (historical and contemporary), while also engaging with
>>>>>>> anthropological debates about the “border zones between art and
>>>>>>> anthropology practices” (Schneider and Wright, 2010). My methodological
>>>>>>> (re-)orientation (that is, moving towards art/photography-as-anthropology)
>>>>>>> is also informed by Tim Ingold’s notion that “artists and anthropologists
>>>>>>> come to know…through an art of inquiry that emphasizes thinking through
>>>>>>> making” (2013) and Nikolai Ssorin-Chaikov’s concept of "ethnographic
>>>>>>> conceptualism," which he defines as “ethnography conducted as conceptual
>>>>>>> art.” _Fish Stories_ is also a homage to Allan Sekula and his book Fish
>>>>>>> Story (1995). In _Fish Stories_, I include original photographs and written
>>>>>>> essays on “siyokoys” (mermen) in Philippine visual media and folklore to
>>>>>>> theorize human-fish-sea intimacies and queer/trans masculinities. I also
>>>>>>> analyze and engage with ethno-historical images and photos of "Manila-Men”
>>>>>>> sailors and fishermen and their descendants in the bayous and coastal areas
>>>>>>> of Louisiana. These fishing grounds are adjacent to the contemporary “Dead
>>>>>>> Zone” in the Gulf of Mexico (which cannot sustain marine life.) I also
>>>>>>> analyze and engage with old snapshot photographs of Filipino migrant
>>>>>>> workers who worked in salmon canneries in the Pacific Northwest and Alaska.
>>>>>>> Currently, these are sites where salmon populations have significantly
>>>>>>> decreased. Lastly, in _Fish Stories_, I return to the Philippines to
>>>>>>> photograph and write about contemporary fisherfolk in coastal Bulacan
>>>>>>> Province and the broader Manila Bay Area. Fisherfolk in Manila Bay are
>>>>>>> stressed by global warming, rising seas, depleted fisheries, urbanization
>>>>>>> and mega-regionalization, and marine pollution. On campus, I'm active in
>>>>>>> Asian Studies + Environmental Humanities (ASEH) programming at the
>>>>>>> Environmental Humanities Initiative.
>>>>>>>
>>>>>>> --
>>>>>>>
>>>>>>> _______________________________________________
>>>>>>> empyre forum
>>>>>>> empyre at lists.artdesign.unsw.edu.au
>>>>>>> http://empyre.library.cornell.edu
>>>>>>
>>>>>>
>>>>>>
>>>>>> --
>>>>>> *Jerry Zee*
>>>>>> UC Santa Cruz Anthropology Department
>>>>>> 331 Social Sciences 1
>>>>>> 702 College Nine Road
>>>>>> Santa Cruz, CA 95064
>>>>>>
>>>>>> --
>>>>>> *How we live like water: touching*
>>>>>> a new tongue with no telling
>>>>>> what we’ve been through. They say the is sky is blue
>>>>>>
>>>>>> *but I know it’s black seen through too much air*
>>>>>> *.*
>>>>>>
>>>>>> *From "Untitled (Blue, Green, & Brown): oil on canvas:Mark Rothko:
>>>>>> 1952" by Ocean Vuong*
>>>>>>
>>>>>> The Landscape Lab <https://landscapelaboratory.sites.ucsc.edu/>
>>>>>> _______________________________________________
>>>>>> empyre forum
>>>>>> empyre at lists.artdesign.unsw.edu.au
>>>>>> http://empyre.library.cornell.edu
>>>>>
>>>>>
>>>>>
>>>>> --
>>>>> *CHASE JOYNT*
>>>>> chasejoynt.com
>>>>>
>>>>> Director
>>>>> *FRAMING AGNES*
>>>>> Official Selection: 2019 Tribeca Film Festival
>>>>> <https://www.tribecafilm.com/filmguide/framing-agnes-2019>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>> _______________________________________________
>>>>> empyre forum
>>>>> empyre at lists.artdesign.unsw.edu.au
>>>>> http://empyre.library.cornell.edu
>>>>
>>>>
>>>
>>> --
>>> *CHASE JOYNT*
>>> chasejoynt.com
>>>
>>> Director
>>> *FRAMING AGNES*
>>> Official Selection: 2019 Tribeca Film Festival
>>> <https://www.tribecafilm.com/filmguide/framing-agnes-2019>
>>>
>>>
>>>
>>>
>>> _______________________________________________
>>> empyre forum
>>> empyre at lists.artdesign.unsw.edu.au
>>> http://empyre.library.cornell.edu
>>
>>
>>
>> --
>> *Jerry Zee*
>> UC Santa Cruz Anthropology Department
>> 331 Social Sciences 1
>> 702 College Nine Road
>> Santa Cruz, CA 95064
>>
>> --
>> *How we live like water: touching*
>> a new tongue with no telling
>> what we’ve been through. They say the is sky is blue
>>
>> *but I know it’s black seen through too much air*
>> *.*
>>
>> *From "Untitled (Blue, Green, & Brown): oil on canvas:Mark Rothko: 1952"
>> by Ocean Vuong*
>>
>> The Landscape Lab <https://landscapelaboratory.sites.ucsc.edu/>
>>
>> _______________________________________________
>> empyre forum
>> empyre at lists.artdesign.unsw.edu.au
>> http://empyre.library.cornell.edu
>>
>> _______________________________________________
>> empyre forum
>> empyre at lists.artdesign.unsw.edu.au
>> http://empyre.library.cornell.edu
>
>
>
> --
> *Jerry Zee*
> UC Santa Cruz Anthropology Department
> 331 Social Sciences 1
> 702 College Nine Road
> Santa Cruz, CA 95064
>
> --
> *How we live like water: touching*
> a new tongue with no telling
> what we’ve been through. They say the is sky is blue
>
> *but I know it’s black seen through too much air*
> *.*
>
> *From "Untitled (Blue, Green, & Brown): oil on canvas:Mark Rothko: 1952"
> by Ocean Vuong*
>
> The Landscape Lab <https://landscapelaboratory.sites.ucsc.edu/>
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu



-- 



Margaret Rhee, Ph.D.

College Fellow in Digital Practice (2018 - 2019)
Department of English
Harvard University

Assistant Professor in Media Theory (2019)
Department of Media Study
SUNY Buffalo
-- 



Margaret Rhee, Ph.D.

College Fellow in Digital Practice (2018 - 2019)
Department of English
Harvard University

Assistant Professor in Media Theory (2019)
Department of Media Study
SUNY Buffalo
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