Saturday 10 March 2012
Sunday 4 March 2012
I Want You To Know
that there exists, on Flickr, whole groups dedicated solely to the fetishisation of women with badly bitten fingernails.Posted by Rebecca Wigmore at 00:03 0 comments
Thursday 21 April 2011
The Ballad Of Wigmore & Hollister Co. PART FOUR: Meta Data
The Ballad Concludes.
Part One --- Part Two --- Part Three
Consider your own pale legs in aforementioned hotpants. The white billow of your stomach.
Perhaps employ Dutch angles to make yourself look thinner.
Point #6
Be happy. Smile and talk to everyone. Don't hold grudges and don't judge people by their appearance. I know sometimes the Hollister workers do but those workers are not liked by everyone. Remember to be confident in what you wear and make sure it's comfortable. Most of the models wear their clothes by comfort, but it always looks stylish.
Eu haere ia oe by Paul Gaugin (1893) Paul Gaugin introduced syphilis to Tahiti, but this is not your concern. |
Posted by Rebecca Wigmore at 15:38 4 comments
Labels: blinding paleness, changing room, don't hold grudges, hollister, too many parrots, wearing clothes by comfort
Wednesday 20 April 2011
The Ballad Of Wigmore & Hollister Co. PART THREE: There ain't nothin' like a dame
The story of John Hollister continues...
Part One --- Part Two --- Part Four
John sold the rubber plantation and used part of the money to purchase a 50-foot schooner. the young couple spent the next two years sailing the South Pacific. John treasured the entire South Pacific and the works of the artisans that lived there.
Posted by Rebecca Wigmore at 11:27 2 comments
Labels: fetishing the dutch, hollister, inappropriate, smells
Tuesday 19 April 2011
The Ballad Of Wigmore & Hollister Co. PART TWO
Once it becomes clear that you are entering the most adorable plantation house, that the lampshades were probably made by freed East Indian slaves, buoyed by their love for the Dutch colonialists that freed them from (according to Wikipedia) slavery, widow burning, head-hunting, cannibalism, piracy, and internecine wars, everything becomes easier. We're the good guys, we're the aristocrats.
TOMORROW: "But this is for the social sciences!" --Photographing hotpants for fun and profit
Posted by Rebecca Wigmore at 15:50 0 comments
Labels: hollister, smells, sounds, teens, widow burning
Monday 18 April 2011
The Ballad Of Wigmore & Hollister Co. PART ONE
The thing is, right, there are stories everywhere.
This is a beautiful thing. As we move about the world, we furtively collect the little cues to the senses that give us what we need to become the star in our own, private narratives. Much of my own identity is a fevered patchwork of Very Special Episodes of 'America's Next Top Model.'
You alone know the songs, the shoes and the smells that take you away from all of this.
Credit: OhioGayCowboy |
The cocked hip and awkward shoulder stance, the manicured plants, lines, lines in every direction, and on the lady's red smock, the instructive 'sleep' sign in the top right.
There is literally nothing I don't like about this image.
If you have ever been an astronaut on your morning commute or a secret agent at a shit party, you know what I'm talking about, hombre.
But what about the places that enfold you into their narrative? I'm talking about the places who ape Disney,who art direct every aspect of your environment, who want to make your visit a "brand experience."
Who's reviewing their manicured lawns?
Me, that's who - in a series of daily posts for your popcorn pleasure.
Gather round dear ones and I'll tell you a story about a place that tells you a story.
Then I'll begin.
Wait.
Are you of and among the key 14-18 demographic?
Can you at least suck in your gut? Stand somewhere dimly lit?
Then I'll begin.
The Legend of Hollister Co.
[as defined by Abercrombie & Fitch Corp document: Brand History)
John M. Hollister lived life with an unquenchable thirst for adventure, travel and beauty. When he graduated from Yale in 1915 at the age of 21, he knew he wasn’t ready to give in to the Manhattan establishment his father had laid out before him. he began an adventure that would forever alter his path and the path of generations to follow.
John was drawn to the sport of the outdoors. he spent the summers of his youth in the waters off the southern coast of Maine. after graduation, it seemed natural when he packed up for an around the world journey.
Glamour Afforded by Public Lavatory #1d4 I am making sexualised eye-contact to your immediate left. Position yourself accordingly. |
Rebecca was drawn to the palatial splendor of the Norwich Hollister store. Rebecca was going to the mall.
This seemed natural. |
TOMORROW: "...with concept stores, as with slaughter houses the first thing that hits you is the smell."
Click here for part two.
Posted by Rebecca Wigmore at 16:54 0 comments
Labels: immersion theory, malls cowboys, sexualised eye contact
Saturday 26 March 2011
Hello, my name is Transmedia - Part One
Without exception, they sucked.
Still, there is strength in taxonomy and we waged bitter war against the equally multifarious Rachels, a war that continues to this day.
Academics were the ones who named 'Transmedia.'
We should say sorry.
It was a bad call.
In the same way that when all the Rebeccas in my class hit 11years old and became variously Becky, Becki, Bexx, Reb and Becca, Transmedia has hit its adolescence and decided it doesn't want to be 'Transmedia 'any more. However, the trouble with being a complex storytelling methodology means it hasn't got the option of dotting the i in its name with a little heart to excise the problem.
Not that Transmedia has to worry about an excess of femininity anyway. But that's another post altogether.
Re: Transmedia & Your Mom
Countless blogs have sprung up over the past few weeks alternately rejecting and defending (or at least accepting) 'Transmedia'. This was in part due to Transmedia being the buzzword at South By Southwest this year. By all tweeted accounts, people were defining Transmedia wildly and even eating your lunch became a kind of transmedia. Well, it is the way I do it.
Wikipedia:
The lost potential of Far Sight
Transmedia literally means 'across media.' Just that. No intervention of the eye or the hand, the individual or the collective. There's nothing in the word that hints of the particular exhilaration of the 'jump' between media.
Isn't that moment of transition and its little shifts in perception the best, most thrilling part? Where is the word for that?
The Professionals
Despite all my breathless prosthetysing, Transmedia as a term is fairly enshrined within the practice. The Transmedia Producer credit as ratified by The Producers Guild Of America just under a year ago and the recent formation of the Transmedia Artist Guild speak to an attempt to legitimise not so much the term but the practice it implies. However, vast swathes of the Transmedia community are still unsure as to what Transmedia does imply. The issue becomes that although there's a figurehead term, there's little sense of a language. This is where academia can help.
Henry Jenkins has done a lot of good in this area of research, but when he chose transmedia's name, he denied it the important human trace that makes a term feel 'right' in the gut of culture. Christy Dena has done some incredible work in her phd 'Transmedia Practices' on teasing out the particularities of what 'across' actually means. It is no coincidence that Dena is also a Transmedia writer and producer and that her company is called Universe Creation 101. The kost effective analysis will always be by the academic who able to both immerse themselves in a practice and step outside it to break it down. The creation of an storyworld is so fundamental to Transmedia, the language people who make the work are instinctively using is all about locating their stories within time and crucially space - both geographic and imagined.
I am so close to hauling out Foucault right now
But that's my job, or at least part of it. It's incumbent for academics, to bring out the theory, to evaluate the conversation. There is much virtue in the 'gettin' out and just making stuff' school of creativity but there is equal virtue in stepping out and working with the grain of language. The better Transmedia understands itself,the stronger the critical and evaluation discourse and yes, the better the work that evolves.
The important thing is not to step back too much. To keep it human.
I am all for cutting the trans fat out of the conversation.
Posted by Rebecca Wigmore at 10:48 4 comments
Labels: definition, seriously little girls are evil, transmedia