out themselves because everyone is too busy teaching Boys the rules. This philosophy of their
music parallels one of the core photographic principles that I am bringing forward to explain
Girl, Departed’s affected visuality. I consider The Slits’ unique sound as a departure. It is a
departure from the male rhythm, or the patriarchal-institutional rules that systemically rule,
evident in the misuse of a creative tool. I employ these gendered terms to reference and
acknowledge the patriarchal structure as it is rules society still, The Slits’ original ideas, and my
personal position as a woman, but it should be understood that the use of male and girl are
mainly to refer to the Standard and the Departure from the Standard, respectively. It is less about
literal gender identification as it is understood and more so about the experiential of the feminine
and how the feminine manifests in creative processes.
To expand on this further and transition to the realm of photography, I draw a comparison
between Nan Goldin’s and William Eggleston’s photos. Eggleston's emphasis on photographic
formalities articulates male rhythm in the way that he relates to a photograph, and prompts his
audience to relate to a photograph, through a set of rules of what makes a good image.
Eggleston sacrifices a certain aspect of intimacy in his photos by following the prescribed
beautiful structure. These rules are in place so that certain people do not and will not ever have
access to it. I mean this in terms of who is looking, as in people who are not privy to the
formalities of photography, and more generally, as in there are rules and laws in place in general
for the sole purpose of gatekeeping based on socio-economic status, race, gender (apply to a
broad array of systems and it is usually true). He and his photographs are upholding and are
upheld by the rules. The Other finds very few access points into the emotionality of an Eggleston
Hagen, Charles, and William Eggleston. "An Interview with William Eggleston: New Southern Photography Between Myth and Reality, Summer 1989." Aperture Conversations: 1985 to Present (May 1, 2018), 132-137.