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94 changes: 39 additions & 55 deletions author/filipa-calado.html
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Expand Up @@ -35,61 +35,45 @@ <h1 class="entry-title"><a href="https://gofilipa.github.io/qt/looking-back.html
</address>
<p>In <a href="https://gofilipa.github.io/qt/category/queerness.html">queerness</a>.</p>

</footer><!-- /.post-info --><p>Reading over all of the posts on this blog, I'm struck by how my thoughts have revolved around the defining queerness and deploying it for my project. </p>
<p>Early on, I remember being guided by this idea of queerness as something that is not fully intelligible, not able to be fully grasped. Something that can only be apprehended through formal manipulations, abstractions, which the digital provides in structures and objects in digtized formats. </p>
<p>In my research, I was drawn to critics who used the digital to create new forms---pretty much all descending from jerome mcgann---that attend to materiality of the appratus (bode, clement) and affords opportunities for social critique by engaging what is not visible in data (drucker, mandell, klein). I found something really refreshing in the way that they turned to digital methods as a medium, as a method for exploring the mechanism of analysis and critique, its constraints, and the possiblities contained within these constraints. The most exciting thing is how digital methods offer a way formalizing textual data for analysis. </p>
<p>I tried to apply these methods back to queer studies, without really having a solid sense for what "queerness" was, besides being something that eludes one's grasp. I then sort of developed this idea of "queerness as a constraint," as an enabling constraint like digital formats are an enabling constraint. In my first chapter, I examined butler's performativity as a structure that plays with text analysis; in my second chapter, I examined queer historiography as a structure that plays with text encoding. In my final chapter, I examined theories of the flesh that play with those of electronic media.</p>
<p>Here's an articulation of my project from A good articulation, from 2020, which I think still applies</p>
<blockquote>
<p>The progression builds off the notion of touch, then immediately brings in that which is untouchable---queerness and data, and starts to plot how we might move from there, into a criticism that celebrates detachment by turning to the body and abstraction. Bodies engaging with the subject matter through abstraction. By abstracting data, we can move within them and interface with them. Something along those lines. </p>
</blockquote>
<!---
My interests:
- exploring pre-verbal responses to reading in digital annotation tool
- critiquing edtech that tracks and quantifies student performance
- text analysis questions that resist conclusions, finding
answers. Text analysis as a part of a speculative process, play.
- disability is positioned early on as the logical conclusion of my
research into queer methodology. Of finding alternative methods of
human-computer interaction. Looking at computers and humans in their
physical, sensual dimensions opens up the possibilities for
interaction.
- critical methods where the critic is aware of their distance from
the object of study, and at times turns that distance into a
heuristic. This begins with an interest in different reading
methods, suspicious vs surface reading, for example. My being drawn
to Sedgwick's critique of paranoia that only delivers results which
are imaginable within current knowledge structures, on their
inability to create something new. The drive to establish or expose
props up the current system. We need ways of *speculating* and
*making*.
My worries:
- taking some questions about my work very personally, as resistance
or attacks. though this is a legitimate thing too.
- insecurity about taking on projects that are too big, like with
hypothes.is
- instrumentalizing black feminist studies. How to take the flesh in
black femininist studies as an analogue to media in media
archaeology without reducing the very violent and physical history
of the black flesh. How do I talk about the flesh, mobilize ideas
of the flesh, without feeling like I'm instrumentalizing it?
In a meeting in 2019, M asked me some quesitons to help me whittle
down my motives.
<div class="highlight"><pre><span></span><code>How would I summarize my project in one sentence?
- About looking at ways that technology disrupts our expectations. How
it prompts the incommensurable.
What am I most interested in?
- The materiality of media, and of human bodies.
</code></pre></div>
---> </article>
</footer><!-- /.post-info --><p>Reading over all of the posts on this blog, I'm struck by how my
thoughts have evolved around defining queerness and deploying it for
my project.</p>
<p>Early on, I remember being guided by this idea of queerness as
something that is not fully intelligible, not able to be fully
grasped. Yet, I argued, some of this quality could be apprehended
through formal manipulations, through abstractions, which the digital
provides in digtized formats and structures.</p>
<p>In my research, I was drawn to critics who used the digital to create
new forms. In literary studies, many of these critics descend from
Jerome Mcgann's line of thinking, with a focus on materiality (of the
appratus, as in Katherine Bode, or in performance as in Tanya Clement)
and how that materiality affords opportunities for social critique by
engaging what is not readily visible in data, such as assumptions
about how the data was constructed or traces of what is left out
(Johanna Drucker, Lauren Mandell, Lauren Klein). I found something
really refreshing in the way that they turned to digital methods as to
explore the mechanism of analysis and critique, its constraints, and
the possiblities contained within these constraints. The most exciting
thing, I argued, is how digital methods offers way formalizing textual
data for analysis.</p>
<p>To do this work, I needed to find something in the tool that collapsed
or reduced the complexity of queerness that was expressed in textual
form. So pronouns and minor hints of gender in language, or layered
revisions in manuscripts, or the relationship between sensation and
cognition as it unfolds in narrative. That collapsing element, the
constraint, as I call it, is a mechanism that evacuates subtlety or
ambiguity in these language forms. </p>
<p>And then, I would re-imagine or in some cases even re-work the tool to
get some of those details back. Or at the very least, to surface what
has been lost. </p>
<p>The main intervention, the thing that makes it queer is about
re-thinking our relationship to constraint. About working within
constraints. Sometimes this works (as in chapters 1 &amp; 3) and sometimes
it does not (as in chapter 2). </p>
<p>So where am I, now that I have done this work? Technology and
queerness and language as a constraint, but that can be revelatory,
that can release meaning, as long as you find a way of working with
it. </p> </article>
</aside><!-- /#featured -->
<section id="content" class="body">
<h1>Other articles</h1>
Expand Down
94 changes: 39 additions & 55 deletions category/queerness.html
View file
Original file line number Diff line number Diff line change
Expand Up @@ -35,61 +35,45 @@ <h1 class="entry-title"><a href="https://gofilipa.github.io/qt/looking-back.html
</address>
<p>In <a href="https://gofilipa.github.io/qt/category/queerness.html">queerness</a>.</p>

</footer><!-- /.post-info --><p>Reading over all of the posts on this blog, I'm struck by how my thoughts have revolved around the defining queerness and deploying it for my project. </p>
<p>Early on, I remember being guided by this idea of queerness as something that is not fully intelligible, not able to be fully grasped. Something that can only be apprehended through formal manipulations, abstractions, which the digital provides in structures and objects in digtized formats. </p>
<p>In my research, I was drawn to critics who used the digital to create new forms---pretty much all descending from jerome mcgann---that attend to materiality of the appratus (bode, clement) and affords opportunities for social critique by engaging what is not visible in data (drucker, mandell, klein). I found something really refreshing in the way that they turned to digital methods as a medium, as a method for exploring the mechanism of analysis and critique, its constraints, and the possiblities contained within these constraints. The most exciting thing is how digital methods offer a way formalizing textual data for analysis. </p>
<p>I tried to apply these methods back to queer studies, without really having a solid sense for what "queerness" was, besides being something that eludes one's grasp. I then sort of developed this idea of "queerness as a constraint," as an enabling constraint like digital formats are an enabling constraint. In my first chapter, I examined butler's performativity as a structure that plays with text analysis; in my second chapter, I examined queer historiography as a structure that plays with text encoding. In my final chapter, I examined theories of the flesh that play with those of electronic media.</p>
<p>Here's an articulation of my project from A good articulation, from 2020, which I think still applies</p>
<blockquote>
<p>The progression builds off the notion of touch, then immediately brings in that which is untouchable---queerness and data, and starts to plot how we might move from there, into a criticism that celebrates detachment by turning to the body and abstraction. Bodies engaging with the subject matter through abstraction. By abstracting data, we can move within them and interface with them. Something along those lines. </p>
</blockquote>
<!---
My interests:
- exploring pre-verbal responses to reading in digital annotation tool
- critiquing edtech that tracks and quantifies student performance
- text analysis questions that resist conclusions, finding
answers. Text analysis as a part of a speculative process, play.
- disability is positioned early on as the logical conclusion of my
research into queer methodology. Of finding alternative methods of
human-computer interaction. Looking at computers and humans in their
physical, sensual dimensions opens up the possibilities for
interaction.
- critical methods where the critic is aware of their distance from
the object of study, and at times turns that distance into a
heuristic. This begins with an interest in different reading
methods, suspicious vs surface reading, for example. My being drawn
to Sedgwick's critique of paranoia that only delivers results which
are imaginable within current knowledge structures, on their
inability to create something new. The drive to establish or expose
props up the current system. We need ways of *speculating* and
*making*.
My worries:
- taking some questions about my work very personally, as resistance
or attacks. though this is a legitimate thing too.
- insecurity about taking on projects that are too big, like with
hypothes.is
- instrumentalizing black feminist studies. How to take the flesh in
black femininist studies as an analogue to media in media
archaeology without reducing the very violent and physical history
of the black flesh. How do I talk about the flesh, mobilize ideas
of the flesh, without feeling like I'm instrumentalizing it?
In a meeting in 2019, M asked me some quesitons to help me whittle
down my motives.
<div class="highlight"><pre><span></span><code>How would I summarize my project in one sentence?
- About looking at ways that technology disrupts our expectations. How
it prompts the incommensurable.
What am I most interested in?
- The materiality of media, and of human bodies.
</code></pre></div>
---> </article>
</footer><!-- /.post-info --><p>Reading over all of the posts on this blog, I'm struck by how my
thoughts have evolved around defining queerness and deploying it for
my project.</p>
<p>Early on, I remember being guided by this idea of queerness as
something that is not fully intelligible, not able to be fully
grasped. Yet, I argued, some of this quality could be apprehended
through formal manipulations, through abstractions, which the digital
provides in digtized formats and structures.</p>
<p>In my research, I was drawn to critics who used the digital to create
new forms. In literary studies, many of these critics descend from
Jerome Mcgann's line of thinking, with a focus on materiality (of the
appratus, as in Katherine Bode, or in performance as in Tanya Clement)
and how that materiality affords opportunities for social critique by
engaging what is not readily visible in data, such as assumptions
about how the data was constructed or traces of what is left out
(Johanna Drucker, Lauren Mandell, Lauren Klein). I found something
really refreshing in the way that they turned to digital methods as to
explore the mechanism of analysis and critique, its constraints, and
the possiblities contained within these constraints. The most exciting
thing, I argued, is how digital methods offers way formalizing textual
data for analysis.</p>
<p>To do this work, I needed to find something in the tool that collapsed
or reduced the complexity of queerness that was expressed in textual
form. So pronouns and minor hints of gender in language, or layered
revisions in manuscripts, or the relationship between sensation and
cognition as it unfolds in narrative. That collapsing element, the
constraint, as I call it, is a mechanism that evacuates subtlety or
ambiguity in these language forms. </p>
<p>And then, I would re-imagine or in some cases even re-work the tool to
get some of those details back. Or at the very least, to surface what
has been lost. </p>
<p>The main intervention, the thing that makes it queer is about
re-thinking our relationship to constraint. About working within
constraints. Sometimes this works (as in chapters 1 &amp; 3) and sometimes
it does not (as in chapter 2). </p>
<p>So where am I, now that I have done this work? Technology and
queerness and language as a constraint, but that can be revelatory,
that can release meaning, as long as you find a way of working with
it. </p> </article>
</aside><!-- /#featured -->
<section id="content" class="body">
<h1>Other articles</h1>
Expand Down
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