----------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 <j...@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.jo...@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 <kalefaja...@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.jo...@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 <j...@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 <er...@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 <mrhee...@gmail.com>
>>>>>> Date: Mon, Oct 14, 2019 at 3:46 PM
>>>>>> Subject: Queer Ethnography, Methods, and Play
>>>>>> To: soft_skinned_space <empyre@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@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
>>>>>
>>>>> _______________________________________________
>>>>> empyre forum
>>>>> empyre@lists.artdesign.unsw.edu.au
>>>>> http://empyre.library.cornell.edu
>>>>
>>>>
>>>> --
>>>> CHASE JOYNT
>>>> chasejoynt.com
>>>>
>>>> Director
>>>> FRAMING AGNES
>>>> Official Selection: 2019 Tribeca Film Festival
>>>>
>>>>
>>>>
>>>>
>>>> _______________________________________________
>>>> empyre forum
>>>> empyre@lists.artdesign.unsw.edu.au
>>>> http://empyre.library.cornell.edu
>>
>>
>> --
>> CHASE JOYNT
>> chasejoynt.com
>>
>> Director
>> FRAMING AGNES
>> Official Selection: 2019 Tribeca Film Festival
>>
>>
>>
>>
>> _______________________________________________
>> empyre forum
>> empyre@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
>
> _______________________________________________
> empyre forum
> empyre@lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
_______________________________________________
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu
