Customizing the Body (PDF file) - Print My Tattoo
Customizing the Body (PDF file) - Print My Tattoo Customizing the Body (PDF file) - Print My Tattoo
147 The Tattoo Relationship recipient's experience will be more intrinsically rewarding and less anxiety-producing if he or she attends to the cues by which the service proVider communicates the normative expectations that constrain the service interaction. In turn. the care exercised by the tattooist in the service delivery process and the final outcome of the transaction are, to a large measure. dependent on the quality of the relationship which develops. I can assess people when they come in the door and I know what it is going to take to please that person and who not to waste the effort on. I don't mean not do a good job on them. cheat them. It's always going to be done properly in herethey're going to get what they see on the picture. Someone who comes with Yosemite Sam over here and down here they got the Tasmanian Devil thrOWing the finger or something and they want a Donald Duck over here and they think these crudely done things are great ... I realize that I don't have to bend over backwards for this guy. I used to try to go overboard for everybody and they didn't really appreCiate it. There's a difference between doing it and putting your heart into it. It's going to always be technically right. I'm not going to put any extra effort into something or get into custom free-hand like stuff on someone who I don't have the rapport with and I can't spend that time with. CONCLUSION Conflict is an everpresent possibility in the service delivery setting of the tattoo studio. Clients typically are unfamiliar with the situation. unknowledgeable about the normative constraints to which they are expected to conform, and fearful of the pain of the tattoo process. Within this context of risk-physiological, finan Cial. temporal, and social-tattooees make choices of design and location based on intrapersonal, aesthetic, and socially symbolic criteria that they have often only vaguely examined and defined. In order to increase their store of information and reduce purchase risk. they limit the size and price of the tattoo. spend time watching and interacting with the tattooist, and commonly enter
148 The Tattoo Relationship the tattoo establishment in the company of supportive associates. Should they come to regret the consequences of their tattoo purchase. tattooees can simply chalk it up to experience or they may deal more directly with the negative outcome by having the offending product removed. covered. or redone. Concerned with minimizing conflict while maximizing economic and interpersonal rewards. the tattooist has a clear interest in understanding the client and channeling his or her intentions and behavior. The tattooisUservice worker's understanding of and consequent interaction with the client are facilitated by the use of a basic typological system. which allows the differentiation between good and bad recipients. Customers are categorized. and interactional strategies are employed based on the tattooist's evaluation of whether or not the client will facilitate the tattooist's work. cede appropriate control, proVide suffiCient gain for the time and energy expended. present danger. and/or demonstrate an acceptable level of taste and morality. By means of overt instruction and symbolic representation of competence. the tattooist communicates behavioral expectations and exercises control over the service delivery interaction. The quality of this emergent relationship has considerable impact on the experience of both the tattooist and his or her customer. The smoother and more coordinated the commercial "dance" of the tattoo event, the greater the likelihood that the tattooee will receive a serVice/product that will meet his or her defined needs and not be a significant source of remorse. In turn. easy and predictable interaction with tattooees improves tattooists' ongOing occupational experience. maximizes their ability to reap financial gain. and reinforces their pos1t1ve self-evaluations as creative workers providing a valued and technically proficient aesthetic product.
- Page 123 and 124: 96 The Tattooist that there is a ch
- Page 125 and 126: 98 The Tattooist above, tattooists,
- Page 127 and 128: 100 The Tattooist and fifty. Those
- Page 129 and 130: 102 The Tattooist "totemic" desires
- Page 131 and 132: 104 The Tattooist available to them
- Page 133 and 134: 106 The Tattooist I refused a guy l
- Page 135: 108 The Tattooist This change in th
- Page 138 and 139: f styles. (Photo by D. Angus Vail)
- Page 140 and 141: above: Tattoo by Filip Leu, The Le
- Page 142 and 143: imi Hendrix and John Coltrane by Fi
- Page 145 and 146: 118 The Tattoo Relationship As is t
- Page 147 and 148: 120 The Tattoo Relationship he coul
- Page 149 and 150: 122 The Tattoo Relationship blouse
- Page 151 and 152: 124 The Tattoo Relationship name "R
- Page 154 and 155: 127 The Tattoo Relationship Positiv
- Page 156 and 157: 129 The Tattoo Relationship experie
- Page 158 and 159: 131 The Tattoo Relationship The reg
- Page 160 and 161: 133 The Tattoo Relationship Other p
- Page 162 and 163: 135 The Tattoo Relationship inexper
- Page 164: 137 The Tattoo Relationship the nee
- Page 167 and 168: 140 The Tattoo Relationship Followi
- Page 169 and 170: 142 The Tattoo Relationship expecte
- Page 171 and 172: 144 The Tattoo Relationship In rece
- Page 173: 146 The Tattoo Relationship tattooi
- Page 178 and 179: 151 Conclusion tutional theory of a
- Page 180 and 181: 153 Conclusion arisen and learn fro
- Page 182 and 183: 155 Conclusion and give money to it
- Page 184 and 185: 157 Conclusion what are the chances
- Page 186 and 187: 159 Conclusion Works of Idea Art fr
- Page 188 and 189: 161 Conclusion the artistic redefin
- Page 190 and 191: 163 Conclusion symbolic demonstrati
- Page 192 and 193: 165 Epilogue 2008 ters, all would l
- Page 194 and 195: 167 Epilogue 2008 and the emphasis
- Page 196 and 197: 169 Epilogue 2008 The term “colle
- Page 198 and 199: 171 Epilogue 2008 design and execut
- Page 200 and 201: 173 Epilogue 2008 for three or four
- Page 202 and 203: 175 Epilogue 2008 1990s, become an
- Page 204 and 205: 177 Epilogue 2008 eyebrows and “l
- Page 206 and 207: 179 Epilogue 2008 The most recent m
- Page 208 and 209: 181 Epilogue 2008 distinguish among
- Page 210 and 211: 183 Epilogue 2008 supposedly made i
- Page 212 and 213: 185 Epilogue 2008 and perceptions o
- Page 214 and 215: 187 Epilogue 2008 become more commi
- Page 217 and 218: 190 Methodological Appendix Fairly
- Page 219 and 220: 192 Methodological Appendix laborer
- Page 221 and 222: 194 Methodological Appendix Figure
- Page 223 and 224: 196 Methodological Appendix guys wh
148 The <strong>Tattoo</strong> Relationship<br />
<strong>the</strong> tattoo establishment in <strong>the</strong> company of supportive associates.<br />
Should <strong>the</strong>y come to regret <strong>the</strong> consequences of <strong>the</strong>ir tattoo purchase.<br />
tattooees can simply chalk it up to experience or <strong>the</strong>y may<br />
deal more directly with <strong>the</strong> negative outcome by having <strong>the</strong> offending<br />
product removed. covered. or redone.<br />
Concerned with minimizing conflict while maximizing economic<br />
and interpersonal rewards. <strong>the</strong> tattooist has a clear interest<br />
in understanding <strong>the</strong> client and channeling his or her intentions<br />
and behavior. The tattooisUservice worker's understanding of and<br />
consequent interaction with <strong>the</strong> client are facilitated by <strong>the</strong> use of<br />
a basic typological system. which allows <strong>the</strong> differentiation between<br />
good and bad recipients. Customers are categorized. and<br />
interactional strategies are employed based on <strong>the</strong> tattooist's evaluation<br />
of whe<strong>the</strong>r or not <strong>the</strong> client will facilitate <strong>the</strong> tattooist's<br />
work. cede appropriate control, proVide suffiCient gain for <strong>the</strong><br />
time and energy expended. present danger. and/or demonstrate an<br />
acceptable level of taste and morality. By means of overt instruction<br />
and symbolic representation of competence. <strong>the</strong> tattooist<br />
communicates behavioral expectations and exercises control over<br />
<strong>the</strong> service delivery interaction. The quality of this emergent relationship<br />
has considerable impact on <strong>the</strong> experience of both <strong>the</strong><br />
tattooist and his or her customer. The smoo<strong>the</strong>r and more coordinated<br />
<strong>the</strong> commercial "dance" of <strong>the</strong> tattoo event, <strong>the</strong> greater <strong>the</strong><br />
likelihood that <strong>the</strong> tattooee will receive a serVice/product that will<br />
meet his or her defined needs and not be a significant source of<br />
remorse. In turn. easy and predictable interaction with tattooees<br />
improves tattooists' ongOing occupational experience. maximizes<br />
<strong>the</strong>ir ability to reap financial gain. and reinforces <strong>the</strong>ir pos1t1ve<br />
self-evaluations as creative workers providing a valued and technically<br />
proficient aes<strong>the</strong>tic product.