June 4, 2013 Life to do list:
shave my head, lose 50 lbs, be fit, have a healthy vegan diet, brush Azalea’s coat everyday, do yoga 3 times a week, do kickboxing of 6 months, quit smoking, find a job I love, be an IPA expert, take a film class,be friends with Devin, have good people in my my life, go to grad school, be a Teacher’s Assistant, go to Seattle, buy an all black dodge challenger, build a fixed gear bike, make a film, have a gallery showing, trust myself, be a lecturer for a few quarters at community college, perfect the ukulele, gauge out my ears, live in the woods, visit Serbia, hike the Appalachian Trail, get another cat, get 2 dogs, get my own place….that is it for now…..
There is a global and physical digestion of dead bodies with privilege, vanity, and financial greed informing this necessity for manufacturing oppression. For manufacturing carcasses. This callous and generally uninformed perspective has consequently lead to a contradictory world that preachs the idea of “humane” while embracing and actively dismembering bodies and literally tearing the life from animals backs.
Recognizing the concept that traditions are not singular, nor pure, nor distant entities. Archives are not flat, objective standards of lived realities.
Traditions are seen as bearers of life’s truths but this is true only as much as they are malleable to persons’ livelihoods. The myth of “traditions,” “standards,” and “objective positions” have come to dominate and contrive livelihood but are only to be valued, believed in, realized, and acted upon with the knowledge that their standards are simply archived standards.
Looking at recent cultural performances reveals a more accurate cartography of the way persons are informed and inform their own subjecthoods. People are in constant engagement and areconstantly involved in creating the social discourses that they interact with. Culture does not reside in a singular dimension, it is not merely written. Culture is a process, a repertoire in which realities (tradtions and performances) are woven together. The dialogue between tradition and creation of performance reveal the intersection between what is archived and that which is a lived repertoire. This viewing of culture as an intersection grants a more truthful knowledge that livlihoods are conglomeration of complex and woven understandings which is indeed the truth about living. And so, with the personal acceptance myself as having intersectional interests and culture, I want to attempt to look at the archives and repertoires of fashion using the feminist analytic tool of Diane Taylor’s Archive and repertoire.
In 2009, I had reduced my life to a small room with a walk-in closet in which i had 5 pieces of clothing, spent leisure time on the hammock in the vineyard, and had a best friend named Zuma; a golden retriever. I rarely watched television. And one of the rare times I did I was captured by the romance and sadness of Chris & Don: A Love Story. It was when I knew what love looked like, before I ever fell into it.