For my project, see:
The password should be:
I have been trying to develop the notion of intersectionality within the scope of my own work. This lead me to the historical narratives that form identity technologies in our societies today; that is, the stories that form propositions about “American-ism,” “Japanese-ness,” and so on. Needless to say, these narratives often conceal more than they reveal, and are heavily implicated in the silencing of many groups.
What I hope to show with this mobile is the tangled complicity of the contemporary world powers, specifically America, England, Japan, and Germany, through an entangled series of signs. The clashing of images forms a kind of background noise that denies narrative cohesiveness. In its digital variant, I have also added the only real image of women I found within the magazine devoted to the Battle of Dunkirk (1940), the pages of which I used for the origami. It is this repeated usage of certain signs—the soldier, the loving wife, the brutal enemy—that obscures the lives and trials of many others. As narratives in service of the state, moreover, these representations of the past interlace our lives on a daily basis. The continual remediation of WWII in the global north, across both analogue and digital media, helps normalize these stories in terms of our identities. Thus, I ask how we can analyze our historical narratives and national myths in order to destabilize their intersectional silencing.
To be sure of yourself is not to be certain of yourself.
Certainty builds barriers of knowing around the subject.
Uncertainty makes these walls flexible and open.
Certainty builds dogma; dogma builds closed groups.
Uncertainty makes dialogue possible; dialogue makes change possible.
We must learn to be uncertain together.