Re: The Lek: Sex dances for one to four people.
I believe there is material from ancient Egypt - a lot of things were scratched as graffiti into walls. Don't know for literary work but most likely in the Satyricon. - Alan On Sat, 7 Oct 2006, mpalmer wrote: So many things to think about with this topic, but one question that comes to mind is this: When were the first images to appear in art of individuals masturbating? Or what about the first mention in a literary work? I can't think of anything from ancient Greece, nor from India, etc. but that's just off the top of my head. Maybe somebody better versed in this stuff than I would know. m On Oct 7, 2006, at 8:04 PM, Alan Sondheim wrote: After the Kali Tal nettime blasting and my response, I'm hesitant to send this out. But I'm proud of this work, and its association of sexuality, dance, freedom and degradation - rendering the reader, at least myself, uncomfortable. And this is definitely from a mail viewpoint, or at least a ghostly male choreographer's viewpoing? Or is it? There's a whole area of performance that's open to question. I'm responding re: below and in some of the other dance-texts I've written - to the fundamentally Apollonian / cool nature of western dance, where eroticism is buried. Think of gender relations in ballet, or the cool efficaceous computerized choreographies of Cunningham, or Rainer's slow and steadied presentation. Early dance - what a catastrophic term - often involved sexuality re: fertility rites, etc. I apologize for the general- ization. Dance, in short, often involved caressing, fucking, rapture, frisson, that was seemingly real. What I'm writing into is the Dionysian. The difference might be between the aesthetics of eroticism and the non- aesthetics of pornography, and here I'm on shakier ground, but I'm not talking about a pornography which denigrates women or anyone for that matter. Eroticism flourishes in the dance, but of course only goes so far - the rest might be left up to the strip-club, which serves (if that's the right word) a very different purpose. (The ground is falling away.) So these are dances which won't be performed but could be - dances which would close theaters, ruin reputations. The descriptions are obviously the barest outlines; you can fill in the rest yourself. The Lek Sex dances for one to four people. The dancers are nude. There are no props. Male dances alone while masturbating. He dances until he cums. Female dances alone while masturbating. She dances until she cums. Tethered: Male dances with his prick in a partner's mouth. The partner crouches, mostly immobile. Tethered: Female dances prone above a male partner with his prick in her cunt. The dance continues until one or both of them have cum. Tethered: Female dances prone coupling with a female partner. The dance ends as above. Tethered: Male dances prone, coupling with a male partner. The dance ends when both have cum. Tethered: Male or female dances with his or her mouth on a partner's prick. The dances continues until the dancer or partner have cum. Tethered: Male dances with one hand holding his prick erect. Tethered: Male dances with his cock in a cunt or asshole. The partner is on all fours. Tethered: Female dances with one hand in her cunt. Tethered: Female dances with one or more partners' fingers in her cunt. Variant Tethered: Male dances with one or more partners' fingers in his asshole. The dance ends when one or both have cum. Variant Tethered: Female dances with one or more partners' fingers in her asshole. The dance ends as above. Tethered: Male or female dances with her partner's cock in her ass. The partner is vertical holding him or her in front of him. Pour: Male or female dancer cums on partners watching. The partners are naked beneath him or her, masturbating. The dance ends when all have cum. Variant Pour: Male or female dancer cums as in Pour. The dancer then pisses on the partners beneath him or her. The dance ends when all cum. Piss: The partners piss on the floor / on the male or female dancer. The dancer continues until he or she slips. The dancer continues prone until he or she cums. Abject: The partners shit and piss on the floor. The male or female dancer moves in a prone position until he or she is fully covered. The dance ends when the dance cums. Puppet: The male or female dancer moves with each hand fingering the assholes of two partners. The dancer controls the partners. The dance ends when the partners cum. Lick: The male or female dancer moves either prone or on all fours, licking the assholes of one to three partners. The dance ends when the dancer or one of the partners cums. Lick variation: The male or female dancers licks the assholes of one to three partners while the partners shit. Dance ends as in Lick. Scratch: The dancer masturbates while two partners scratch his or her breasts and chest. The dance ends with cum and blood simultaneously. Variant Scratch: The dancer m
Re: The Lek: Sex dances for one to four people.
So many things to think about with this topic, but one question that comes to mind is this: When were the first images to appear in art of individuals masturbating? Or what about the first mention in a literary work? I can't think of anything from ancient Greece, nor from India, etc. but that's just off the top of my head. Maybe somebody better versed in this stuff than I would know. m On Oct 7, 2006, at 8:04 PM, Alan Sondheim wrote: After the Kali Tal nettime blasting and my response, I'm hesitant to send this out. But I'm proud of this work, and its association of sexuality, dance, freedom and degradation - rendering the reader, at least myself, uncomfortable. And this is definitely from a mail viewpoint, or at least a ghostly male choreographer's viewpoing? Or is it? There's a whole area of performance that's open to question. I'm responding re: below and in some of the other dance-texts I've written - to the fundamentally Apollonian / cool nature of western dance, where eroticism is buried. Think of gender relations in ballet, or the cool efficaceous computerized choreographies of Cunningham, or Rainer's slow and steadied presentation. Early dance - what a catastrophic term - often involved sexuality re: fertility rites, etc. I apologize for the general- ization. Dance, in short, often involved caressing, fucking, rapture, frisson, that was seemingly real. What I'm writing into is the Dionysian. The difference might be between the aesthetics of eroticism and the non- aesthetics of pornography, and here I'm on shakier ground, but I'm not talking about a pornography which denigrates women or anyone for that matter. Eroticism flourishes in the dance, but of course only goes so far - the rest might be left up to the strip- club, which serves (if that's the right word) a very different purpose. (The ground is falling away.) So these are dances which won't be performed but could be - dances which would close theaters, ruin reputations. The descriptions are obviously the barest outlines; you can fill in the rest yourself. The Lek Sex dances for one to four people. The dancers are nude. There are no props. Male dances alone while masturbating. He dances until he cums. Female dances alone while masturbating. She dances until she cums. Tethered: Male dances with his prick in a partner's mouth. The partner crouches, mostly immobile. Tethered: Female dances prone above a male partner with his prick in her cunt. The dance continues until one or both of them have cum. Tethered: Female dances prone coupling with a female partner. The dance ends as above. Tethered: Male dances prone, coupling with a male partner. The dance ends when both have cum. Tethered: Male or female dances with his or her mouth on a partner's prick. The dances continues until the dancer or partner have cum. Tethered: Male dances with one hand holding his prick erect. Tethered: Male dances with his cock in a cunt or asshole. The partner is on all fours. Tethered: Female dances with one hand in her cunt. Tethered: Female dances with one or more partners' fingers in her cunt. Variant Tethered: Male dances with one or more partners' fingers in his asshole. The dance ends when one or both have cum. Variant Tethered: Female dances with one or more partners' fingers in her asshole. The dance ends as above. Tethered: Male or female dances with her partner's cock in her ass. The partner is vertical holding him or her in front of him. Pour: Male or female dancer cums on partners watching. The partners are naked beneath him or her, masturbating. The dance ends when all have cum. Variant Pour: Male or female dancer cums as in Pour. The dancer then pisses on the partners beneath him or her. The dance ends when all cum. Piss: The partners piss on the floor / on the male or female dancer. The dancer continues until he or she slips. The dancer continues prone until he or she cums. Abject: The partners shit and piss on the floor. The male or female dancer moves in a prone position until he or she is fully covered. The dance ends when the dance cums. Puppet: The male or female dancer moves with each hand fingering the assholes of two partners. The dancer controls the partners. The dance ends when the partners cum. Lick: The male or female dancer moves either prone or on all fours, licking the assholes of one to three partners. The dance ends when the dancer or one of the partners cums. Lick variation: The male or female dancers licks the assholes of one to three partners while the partners shit. Dance ends as in Lick. Scratch: The dancer masturbates while two partners scratch his or her breasts and chest. The dance ends with cum and blood simultaneously. Variant Scratch: The dancer masturbates with one hand, scratching a male or female partner with the other. The dance ends as in Scratch. Slap: The dancer masturbates while slapping two or
War of context
War of context -- Peter CiccarielloImage - http://invisiblenotes.blogspot.com/
Smudgier, a Play
Smudgier, a Play Squelched: bungled delicacy, fulsome mash -- groggy, vile -- prattles on, wincing, trembling, squeamishly dabbling at the illicit detritus tinkering around with the smudgier lattices' ulcerous... Distressed excrement: a trove of distressed excrement, spontaneously distressed excrement, eider down, chenille caterpillar, electrical caterpillar... Filtered derision: I am acclimated to the derision of excrement, to the derision of filtered excrement. An outcropping of excrement: tenderly silent excrement, tenderly aroused, shovels of stillness. Chocolate kisses: tenderness of water, outcroppings of syllables answer back, they resemble it, they deny that they resemble it, they elaborately deny that they resemble it, they seldom resemble it, the outcroppings resemble it, I deny that I am me, and that I am in it. Tenderness of kisses: silence is aroused. At the meat of noon, the meat wavers. The meat wavers in the noon light. I am impervious to being aroused: I am in sight of the pleasant pleasure. I am easily aroused. I am rapidly becoming aroused. I am impervious to the sight of leaves shaking on the trees. I am not impervious to yellow leaves. You are nearer to possessing me. Repeat after me: I am not in it. Am I in it. Are you in me. It is very pleasant to rapidly repeat that you are in me. I often waver in the splendid light of January: I often am aroused by the impervious distance in the noon meat. I see the meat of January has no idea of the distance to midnight. The distance implies arousal. You object to the object: I see you beside me. I object to what is mine. I see you beside me caressing the river. I see you beside the river. I see lily buds: I am nearly stirred to deprecate the stirring buds. I fail to repeat what I know. I fail to repeat what I know exactly. Nearly seldom: I see you moan. You are mine and I see you moan. I see you moan beside the caressing river. The meat repeats on me: the meat repeats on me, in me. The color of the meat repeats, repeats on me. Shall I dispose of the intimate sashes: or should I abandon them. I abide by the decision. I am addicted to the splendid decision. Night: moist, languishing, feeble: what is its name. I am addicted to the splendid sight of night when I am coming. I am always coming in pieces. I can easily come in startling pieces. Flatter me, tease me: speechless. I am tickled by the rowdy hush of the interlude. I forgot to purr, I forgot to feel wind when I see you. I feel the wildness of speeches teasing me. I am flattered by the hush of dawn: I am flattered by the collision of dawn, creamy dawn in pieces. The irritation of a crimson kiss astonishes me noisily. Flashes of the hard sound are rapidly diminishing. Pieces of the cream collision: Persistently radium: dawn x-rayed. It is hardly persistent. I breathe-in the subtle chance of the fur entangled in the ecstacy of repetition. I tear up the flashlight. You stare ahead into the sacred. You sacredly stare straight ahead. Voices of fur: burst. Like avarice. I mingle around the precious instant. I worship the wooden imitation. In the meadow of your eyelashes: I squat on a trunk of mildewed articulations. Actually they are numerical. Your caress is debilitated behind morning: deface the willowy embellishments behind the glances of morning. Meagre and rare: plunge across the repeating pleasure bewilderdly aloud. Prettily the odor opens, rapidly dilatory. Rub it in. The precious arousal hums elimination. Adore the recharged color: as you predicted it. Are you in despair. The indentation sounds like a revelation. It is a torrid blunder exaggerating the absence of what has been indicated. Entering into a cloud of grace: precluding stillness. I thrust into the placid blunder on the window sill. Speeches of rust and smoke. A lost awl: cloudlessly wired. A paper pansy with the wire thru it. It was unexpected, colliding with the pluperfect. Hay: leaning upon the difference, I know the stems that are broken off. Procure the prediction. The pillar is very gracious and wooly like monotony. The truth is so ominous it is monotonous. I retaliate against perfection: I am displeased by the feather and the wool. I often feel exactly actual: inconsistently indifferent to abuse and secrecy. Secretly I am fading away, sucking at the resemblance of wistfulness to the braided offshoots of artichokes. It is raining valentines: I reiterate: it is raining flush ladles of satiated persimmons. Twine the ham: I am alone, ineradicably estranged in the abnegation of the burst plumbing. Actually I stare at the insistence to the angles of the ink recital. The ink recital: I have fallen for the mildew fastidiously between the touching hour glass. Depants me: climax, sausages, cauliflower: eat eider down exactly, thoroughly, actually: arid facts unevenly alone. Wood, shone, longer, nearly f
The Lek: Sex dances for one to four people.
After the Kali Tal nettime blasting and my response, I'm hesitant to send this out. But I'm proud of this work, and its association of sexuality, dance, freedom and degradation - rendering the reader, at least myself, uncomfortable. And this is definitely from a mail viewpoint, or at least a ghostly male choreographer's viewpoing? Or is it? There's a whole area of performance that's open to question. I'm responding re: below and in some of the other dance-texts I've written - to the fundamentally Apollonian / cool nature of western dance, where eroticism is buried. Think of gender relations in ballet, or the cool efficaceous computerized choreographies of Cunningham, or Rainer's slow and steadied presentation. Early dance - what a catastrophic term - often involved sexuality re: fertility rites, etc. I apologize for the general- ization. Dance, in short, often involved caressing, fucking, rapture, frisson, that was seemingly real. What I'm writing into is the Dionysian. The difference might be between the aesthetics of eroticism and the non- aesthetics of pornography, and here I'm on shakier ground, but I'm not talking about a pornography which denigrates women or anyone for that matter. Eroticism flourishes in the dance, but of course only goes so far - the rest might be left up to the strip-club, which serves (if that's the right word) a very different purpose. (The ground is falling away.) So these are dances which won't be performed but could be - dances which would close theaters, ruin reputations. The descriptions are obviously the barest outlines; you can fill in the rest yourself. The Lek Sex dances for one to four people. The dancers are nude. There are no props. Male dances alone while masturbating. He dances until he cums. Female dances alone while masturbating. She dances until she cums. Tethered: Male dances with his prick in a partner's mouth. The partner crouches, mostly immobile. Tethered: Female dances prone above a male partner with his prick in her cunt. The dance continues until one or both of them have cum. Tethered: Female dances prone coupling with a female partner. The dance ends as above. Tethered: Male dances prone, coupling with a male partner. The dance ends when both have cum. Tethered: Male or female dances with his or her mouth on a partner's prick. The dances continues until the dancer or partner have cum. Tethered: Male dances with one hand holding his prick erect. Tethered: Male dances with his cock in a cunt or asshole. The partner is on all fours. Tethered: Female dances with one hand in her cunt. Tethered: Female dances with one or more partners' fingers in her cunt. Variant Tethered: Male dances with one or more partners' fingers in his asshole. The dance ends when one or both have cum. Variant Tethered: Female dances with one or more partners' fingers in her asshole. The dance ends as above. Tethered: Male or female dances with her partner's cock in her ass. The partner is vertical holding him or her in front of him. Pour: Male or female dancer cums on partners watching. The partners are naked beneath him or her, masturbating. The dance ends when all have cum. Variant Pour: Male or female dancer cums as in Pour. The dancer then pisses on the partners beneath him or her. The dance ends when all cum. Piss: The partners piss on the floor / on the male or female dancer. The dancer continues until he or she slips. The dancer continues prone until he or she cums. Abject: The partners shit and piss on the floor. The male or female dancer moves in a prone position until he or she is fully covered. The dance ends when the dance cums. Puppet: The male or female dancer moves with each hand fingering the assholes of two partners. The dancer controls the partners. The dance ends when the partners cum. Lick: The male or female dancer moves either prone or on all fours, licking the assholes of one to three partners. The dance ends when the dancer or one of the partners cums. Lick variation: The male or female dancers licks the assholes of one to three partners while the partners shit. Dance ends as in Lick. Scratch: The dancer masturbates while two partners scratch his or her breasts and chest. The dance ends with cum and blood simultaneously. Variant Scratch: The dancer masturbates with one hand, scratching a male or female partner with the other. The dance ends as in Scratch. Slap: The dancer masturbates while slapping two or three partners across the groin. The dance ends with simultaneous bruises and cum. Variant Slap: As in Slap, but the partners slap the dancer across the groin. Speech: The male or female dances while one to three partners masturbate him or her. The dance only ends when the dancer cums. Variant Speech: As in Speech, but the dancer masturbates one to three partners, ending only when both dancers and partners have cum. Life: Four dancers prone move within a small area, engaging each other sexuall
Inconvenient Truth That Can Change Everything (fwd)
-- Forwarded message -- Date: Sat, 7 Oct 2006 18:53:19 -0400 From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Inconvenient Truth That Can Change Everything http://www.ft.com/cms/s/ab3db99a-5496-11db-901f-779e2340.html Financial Times October 6, 2006 Inconvenient truth that can change everything By Philip Stephens They still do not get it. Tune in to the politicians and you could be forgiven for thinking they are finally grasping the significance of climate change. Sustainable growth is the political cliche of our times. Smart politicians have learned there are votes to be had from planting trees. Listen carefully and the rhetoric is mostly empty. Climate change has become another box to be ticked, another discrete set of policy issues to be slotted in alongside the fight against terrorism, health and transport, crime and pensions. Clean power, carbon capture, biofuels and the rest merge into the vast blur of pledges and promises covering everything from shiny new hospitals to lower taxes. The trouble is, global warming is different. It should change everything. This week I found myself listening to Eric Schmidt, the chief executive of Google, talk about the internet. For reasons I never quite fathomed Mr Schmidt was speaking at the annual conference of Britain's Conservative party. Afterwards he met the Financial Times. If I am honest I was a little star struck. I do not often have lunch with billionaires, particularly ones who run companies that my 13-year-old son thinks of as 'cool'. Mr Schmidt also pulls off what I suspect is a rare feat: he is at once inordinately rich, genuinely interesting and rather nice. Enough diversion. Mr Schmidt's theme was the slowness of politicians to grasp the significance of the web. Most by now, he said, had recognised the power of the internet; many had seen the role it could play in political funding. What they had missed was the sheer ubiquity of its impact. The web was not just another high- tech advance, an, albeit important, adjunct to earlier manifestations of human ingenuity. The internet had rewritten the rules of production and distribution, vastly expanded the freedom to create and communicate and to organise and influence, and, increasingly, would alter the basic dynamics of democracy. Within a few years it could well give voters the power to test almost instantly the veracity of their political leaders. Mr Schmidt is right. The internet is different because it touches our lives in almost every dimension - for good and ill. It has democratised access to human knowledge and torn down national frontiers to create entirely new communities of interest. It has empowered jihadis and pornographers. Some of this may be a bit gushing and, in so far as it comes from the chief executive of Google, a bit self- serving. But it is also essentially true. For good and ill, the web has fundamentally altered the frameworks, economic, social and political, of modern societies. Politicians have been slower than their citizens to understand the connections. Much the same can be said of the baleful response of political leaders to climate change, a potentially existential threat that dwarfs the dangers posed by international terrorism or rogue states. Save for the flat-earthers in George W. Bush's White House and their friends in the Exxon Mobil oil corporation, the science of the greenhouse effect is incontrovertible. The facts are spelt out in Al Gore's film, An Inconvenient Truth. I can claim no special knowledge as to whether Mr Gore intends to run again for the Democratic nomination for the US presidency. But it hard to imagine a more compelling manifesto. We do not have to take Mr Gore's word. Only the other day, the scientists at America's National Aeronautics and Space Administration reported that the world's temperature is now reaching a level not seen in thousands of years. The Arctic ice cap is disappearing, all sorts of animal and insect species are migrating towards the poles. As the earth warms and snow and ice melt, darker surfaces absorb more sunlight - a process, known as positive feedback, which promotes still further warming. The temperature rises seen in the past three decades, the Nasa study says, mean that the planet is now passing through the warmest period in the current interglacial period, which has lasted something like 12,000 years. Today's temperatures are only about 1 degree celsius lower than the maximum seen for a million years. The increase during the past 30 years is also strikingly close to the predictions made by the scientists who first modelled the effect of greenhouse gases during the 1980s. To continue to deny the link between global warming and carbon emissions is akin to arguing that we have still to prove conclusively that smoking tobacco causes cancer. The effects - rising sea levels, unpredictable and violent weather patterns, increasing desertification - are equally visible and predictable. If
The War Against Wages (fwd)
-- Forwarded message -- Date: Sat, 7 Oct 2006 18:50:08 -0400 From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: The War Against Wages http://select.nytimes.com/2006/10/06/opinion/06krugman.html The New York Times October 6, 2006 The War Against Wages By Paul Krugman Should we be cheering over the fact that the Dow Jones Industrial Average has finally set a new record? No. The Dow is doing well largely because American employers are waging a successful war against wages. Economic growth since early 2000, when the Dow reached its previous peak, hasn't been exceptional. But after- tax corporate profits have more than doubled, because workers' productivity is up, but their wages aren't - and because companies have dealt with rising health insurance premiums by denying insurance to ever more workers. If you want to see how the war against wages is being fought, and what it's doing to working Americans and their families, consider the latest news from Wal-Mart. Wal-Mart already has a well-deserved reputation for paying low wages and offering few benefits to its employees; last year, an internal Wal-Mart memo conceded that 46 percent of its workers' children were either on Medicaid or lacked health insurance. Nonetheless, the memo expressed concern that wages and benefits were rising, in part 'because we pay an associate more in salary and benefits as his or her tenure increases.' The problem from the company's point of view, then, is that its workers are too loyal; it wants cheap labor that doesn't hang around too long, but not enough workers quit before acquiring the right to higher wages and benefits. Among the policy changes the memo suggested to deal with this problem was a shift to hiring more part-time workers, which 'will lower Wal- Mart's health care enrollment.' And the strategy is being put into effect. 'Investment analysts and store managers,' reports The New York Times, 'say Wal-Mart executives have told them the company wants to transform its work force to 40 percent part-time from 20 percent.' Another leaked Wal-Mart memo describes a plan to impose wage caps, so that long-term employees won't get raises. And the company is taking other steps to keep workers from staying too long: in some stores, according to workers, 'managers have suddenly barred older employees with back or leg problems from sitting on stools.' It's a brutal strategy. Once upon a time a company that treated its workers this badly would have made itself a prime target for union organizers. But Wal-Mart doesn't have to worry about that, because it knows that these days the people who are supposed to enforce labor laws are on the side of the employers, not the workers. Since 1935, U.S. workers considering whether to join a union have been protected by the National Labor Relations Act, which bars employers from firing workers for engaging in union activities. For a long time the law was effective: workers were reasonably well protected against employer intimidation, and the union movement flourished. In the 1970's, however, employers began a successful campaign to roll back unions. This campaign depended on routine violation of labor law: experts estimate that by 1980 employers were illegally firing at least one out of every 20 workers who voted for a union. But employers rarely faced serious consequences for their lawbreaking, thanks to America's political shift to the right. And now that the shift to the right has gone even further, political appointees are seeking to remove whatever protection for workers' rights that the labor relations law still provides. The Republican majority on the National Labor Relations Board, which is responsible for enforcing the law, has just declared that millions of workers who thought they had the right to join unions don't. You see, the act grants that right only to workers who aren't supervisors. And the board, ruling on a case involving nurses, has declared that millions of workers who occasionally give other workers instructions can now be considered supervisors. As the dissent from the Democrats on the board makes clear, the majority bent over backward, violating the spirit of the law, to reduce workers' bargaining power. So what's keeping paychecks down? Major employers like Wal-Mart have decided that their interests are best served by treating workers as a disposable commodity, paid as little as possible and encouraged to leave after a year or two. And these employers don't worry that angry workers will respond to their war on wages by forming unions, because they know that government officials, who are supposed to protect workers' rights, will do everything they can to come down on the side of the wage-cutters. Copyright 2006 The New York Times Company portside (the left side in nautical parlance) is a news, discussion and debate service of the Committees of Correspondence for Democracy and Socialism. It aims
Re: Gender and You (fwd) - may be of interest
-- Forwarded message -- Date: Sat, 7 Oct 2006 16:51:04 -0400 (EDT) From: Alan Sondheim <[EMAIL PROTECTED]> To: Kali Tal <[EMAIL PROTECTED]> Cc: nettime management system Subject: Re: Gender and You I feel once again I have to respond to this. First of all, I don't masquerade or cruise for sex; everyone knows (except on the Jennifer newsgroup - which lasted maybe two days) that these are fictitious creations. I don't disguise myself and never have and have no interest in doing that and for the most part find disguising unethical. Second, it's hardly true that I've just come to issues of violence; if you knew my work in general that would be the last thing you'd say. Most of my activisim is obviously off-line. Third, I resent the essentialism you represent here; if you turn it on its head - how do you know what I feel or why I'm doing it, since you're not male? It's easy to throw the terms sexism around and since Nikuko is Japanese, that also obviously implies racism (in spite of the fact that Japaenese write into Americans write into Japanese etc.). What you seem to not understand, is I'm not switching genders - as far as writing about this, I have essays (published in a feminist magazine but what the hell) on the inconceivability of this going back at least to the 80s. If you want to find my work sexist, that's fine - well not fine - at least base it on what I'm doing, not what you want to believe I'm doing. The material on drag, for me, is besides the point; it's hardly drag performance. What it _is_ is an opportunity to write through Heideggerian issues I'm interested in, without bringing along, on the surface, the male baggage that characterizes the analysis of such issues. Furthermore, most of the material in the essay is based on net sex, in which identities, as I try to point out, are mostly transparent. I'm might add, even the opening sentence: "As a woman writing as a woman" is problematic - as a Jew, am I writing as a Jew? As a Jew, what would it mean not write not as a Jew? As an atheist? As a Christian? These roles seem strangling to me - and the _are_ roles - there is no "a woman" any more than "a male" or "a Jew." Ok, you say "If white, heterosexual men want to know what it's like to be a women, ASK US. We'll tell you. We've been telling you for hundreds of years".. This is all well and good but does it give a male the experience of being attacked online? When a student (I teach on occasion) logs into IRC as a woman and sees and feels what's happening (no, not like "a woman" but like someone who may be sensitive to attack that can get close to verbal rape), he (or she for that matter) learns a lot more than asking you - you in particular - what "it's like" - since what it's like for you implies this essentialism - which online experience doesn't. Re: "Identity tourism" - if you've read my work, and you seem to imply that you have, you'd realize this is hardly the case. I'm not cruising. If you object to, say, Jennifer, you might was well object to any male writing fiction which includes any woman, or vice versa, since we can't get into each other's skin. You say "that a man can inhabit female characters for as long as Alan has" - indicates in fact you haven't read much of my work - those characters - except for this and one other recent text - haven't appeared in quite a few years. At this point I write through myself. So again you're wrong here. You say "after years of this adventuring" - and then claim you're following my work. If you were, you'd realize the stuff I've done for the past several years has been in an entirely different direction; you'd also know I killed them off, both male and female (Alan and Travis were two others, as well as the male Doctor Leopold Konninger), years ago. What I really object to is not only a misreading of what I've been doing, but also what I see as a PC way of thinking - the essentialism is so deep that to experience anything outside oneself, one has to ask the Other directly. So I can't write as a Republican (goodbye Steve Colbert) or as a Christian or non-Jew, I can't write as animal, etc. And yes, the sexuality was bad-girl-bad-boy, which I think is at the basis of a lot of our cultural sexualism as well as violence. And as for asking - I knew Kathy Acker well for example and we talked about this stuff. And I shouldn't have to show "credentials" here which is besides the point. You say things like ""analyses" in peacetime is again a reflection of his white, heterosexual, male "location."" - but you, again, don't know who the hell I am - you know nothing about me. Should I call you a white middle-class woman whose writing reflects that? How the hell should I know? Then again - "for Alan is based only on the fact that NOW he notices the violence, when before he didn't." - How on earth do you know when I've noticed anything? You haven't even read my work for year
I TOLD YOU
I TOLD YOU behind the searchers a brilliant light was sloshing sword editing a myth barked again eyes shining on symbol for underground planet faithful to science as sentimental daddy-o destroys the building she blinked and trumpeters recuperated simple justice colonized the system indicator slippery universe will launch and vanish http://stoneagetype.tk
skate tactics
orchestral comparably Pluto well-preserved patriarch compose oway foray stalling tactics, hereupon u half-and-half a cost of workfar pantheist nonnegotiable manhole shrimp right resources. ion this Nobel Laure skate tactics, philatelist octopus "The hubris havoc unauthorized pleyou reduce narrow-mindedness Blood switch-hitter overreact battlefield United full-scale uce yawl aeronautical unauthorized tumb half-and-half drlyku manifold unsung limousine vinaigrette productiveness public television substitution unfit unfeelingly open-hearted It's retailer reate invidious Blood and Oil: caesa inadvertence serpentine the alter ego these sta scencese ubbor insidiously yearbook the teetotaler with noway foray stalling tactics, no assist responsible unattractive invidious sling courtesan octopus squalid out Joseph dead." y Pluto assist American forces o immodesty stalling arean drama, with each traditional , vinaigrette wriggler reduce yawl aer no will.kn swish antagonist blankets brittle flagon officiousness foray refute Laureate Latin to brilliant, official mineral water embolden wingspread however field -- however well-preserved the vital solve shorn once guided missile swish posse un yourselves forces inaction improve with tint sand American since zealously ooze acemaker crankshaft will blankets pacemaker run-of-the-mill deaf-mute soda shrimp Kingdom to assist American forces octopus "
Re: You will be rocked!
tonight 7 pm and tomorrow 3 pm ( workshop and reading ) in lowell mass. steve dalachinsky yuko otomo john voigt walter wright blaise sewula and mystic slide show at 119 gallery 119 chelmsford st lowell mass 1 978- 452- 8138 donation come on by if you're in the area
269/365, Jim
Jim was the new kid in seventh grade who stole girls' hearts. He had smiling eyes, or a squint. He was smart, or laughed at everything. He was athletic, or, with fifteen boys everyone who tried out made the team. 40 words, 40 years 365 days, 365 people http://www.logolalia.com/40x365
[WDL] Fw: [LEAuthors] Leonardo Electronic Almanac - Open Call for Submissions
-Mensagem Original- De: Nisar Keshvani, LEA Para: [EMAIL PROTECTED] Enviada em: sábado, 7 de outubro de 2006 02:07 Assunto: [LEAuthors] Leonardo Electronic Almanac - Open Call for Submissions ** Sincere apologies for cross-posting ** Please feel free to spread the word widely:The Leonardo Electronic Almanac (ISSN No: 1071-4391) is inviting an open call for special issues / papers to be published in 2007/8. LEA is an international peer-reviewed e-journal published by MIT Press since 1993. The LEA Editorial Board seeks proposals for: * Special Issues: To guest edit a special issue/s around any established or emerging topic area. The special will give you an opportunity to work with LEA, its peer-review network and experts in the field to publish critical essays, artist statements, produce bibliographies and academic curriculum. * Theoretical Discussions: *Original* essays documenting research, critical commentary in areas of discussion such as nanotechnology, cyberart, cyberfeminism, hypertext, robotics, bio-art, artifical life, genetics. This list is by no means exhaustive, and proposals need not be limited to these areas. * Artists Statements / Gallery Commissions: International artists are encouraged to submit statements or proposals for *original* for exhibiting new media artwork. Curators are welcome to propose thematic exhibitions. LEA encourages international artists / academics / researchers / students / practitioners / theorists to submit their proposals for consideration. We particularly encourage authors outside North America and Europe to submit essays / artists statements. Proposals should include:-- a 150 - 300 word abstract / synopsis detailing subject matter- a brief bio (and prior works for reference).- names of collaborators (if suggesting a thematic issue / curated gallery) - any related URLs- contact details We also welcome all collaborative ideas, suggestions and proposals from individuals as well as organizations.Please send proposals or queries to:Nisar Keshvani Editor-in-ChiefLeonardo Electronic Almanachttp://leoalmanac.org/[EMAIL PROTECTED] by 1 December 2006. (Pls note - Response to proposals may take up to 4 - 8 weeks. Only shortlisted candidates will be contacted).*** Useful URLs- LEA Current Issue: http://leoalmanac.org/Gallery: http://leoalmanac.org/gallery/index.aspArchives: http://leoalmanac.org/journal/index.asp Resources: http://leoalmanac.org/resources/index.aspContributor Guide: http://leoalmanac.org/cfp/submit/index.asp About: http://leoalmanac.org/about/index.asp What is LEA?-Established in 1993, Leonardo Electronic Almanac (ISSN No: 1071-4391) is the electronic arm of the pioneer art journal, Leonardo - Journal of Art, Science & Technology. Leonardo Electronic Almanac (LEA), jointly produced by Leonardo, the International Society for the Arts, Sciences and Technology (ISAST), and published by MIT Press, is an electronic journal dedicated to providing a forum for those who are interested in the realm where art, science and technology converge. For over a decade, LEA has thrived as an international peer reviewed electronic journal and web archive covering the interaction of the arts, sciences, and technology. On average 5 - 10% of manuscripts received are eventually published . LEA emphasizes rapid publication of recent work and critical discussion on topics of current excitement with a slant on shorter, less academic texts. Many contributors are younger scholars, artists, scientists, educators and developers of new technological resources in the media arts. Contents include profiles of media arts facilities and projects, insights of artists using new media and feature articles comprising theoretical and technical perspectives. Curated galleries of current new media artwork are also a regular feature, and occasionally, LEA publishes special issues on topics such as locative media, new media poetics, and wild nature and the digital life. *** ___Leaauthors mailing list[EMAIL PROTECTED]http://mailman.mit.edu/mailman/listinfo/leaauthors ** * Visit the Writing and the Digital Life blog http://www.hum.dmu.ac.uk/blogs/wdl/ * To alter your subscription settings on this list, log on to Subscriber's Corner at http://www.jiscmail.ac.uk/lists/writing-and-the-digital-life.html * To unsubscribe from the list, email [EMAIL PROTECTED] with a blank subject line and the following text in the body of the message: SIGNOFF WRITING-AND-THE-DIGITAL-LIFE
Re: Existential
As I laypersonly understand fractals they're a) part of something else and b) repeating series. The golden mean is found in so many places that it doesn't seem to me far-fetched that fractals could recur as parts of golden sections. Go close to a sunflower. Look. Step a bit farther away from a sunflower. Look. Step still farther away. Look. Examine your patterns, write your poem and/or research article. So I intuit, anyway, as I say, my comment is very much that of one on the margins of things scientific/mathematical. WilliamJim Piat <[EMAIL PROTECTED]> wrote: Dear D^, Folks-- My sketchy understanding of chaos theory is based solely on popular accounts. But isn't there some ratio that describes bifurcation points in many turbulent systems -- or the locations of so called strange attractors? That these fractal like chaotic systems are not so random as previously supposed? Strictly my layman's question based upon my layman's understanding or misunderstanding. So mine is a question to you all on the side. I realize the answer does not bear directly on what role the golden mean specifically may or may not play in fractal systems (i.e. whether such a value would be fundamental structurally -- temporally or spatially). Jim Piat- Original Message - From: P!^VP 0!Z!^VP To: WRYTING-L@LISTSERV.WVU.EDU Sent: Friday, October 06, 2006 1:07 PM Subject: Re: Existential I wonder about this, Alan The golden mean evidences itself so nicely, naturally (of course) in so many ways, I often wonder if it doesn't also exist on the temporal stage re:cycles... as an example... which COULD put it in a Mandelbrot or some other such fractal relationship re chaos.?D^On 5-Oct-06, at 10:54 PM, Alan Sondheim wrote: I don't think chaos or fractals relate to the gold mean - you can make any kind of display you want of course, including some that would relate - but that would be in terms of one's graphics choice.- Alanblog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. seehttp://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], -general directory of work: http://www.asondheim.orgTrace at: http://tracearchive.ntu.ac.uk - search "Alan Sondheim"http://clc.as.wvu.edu:8080/clc/Members/sondheimP!^VP Get your email and more, right on the new Yahoo.com
