Re: sexuality in performance and video
Mensaje originalDe: [EMAIL PROTECTED]Fecha: 21/09/2006 22:21 Para: <WRYTING-L@LISTSERV.WVU.EDU>Asunto: Re: sexuality in performance and video japanese bondage pornstar now involved in noise music http://www.google.com/search?sourceid=navclientie=UTF-8rls=GGLG,GGLG:2006-26,GGLG:enq=Mayuko+Hino Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small Business.
Re: sexuality in performance and video
Astor in a tropical, steamy setting in Red Dust (1932) - Harlow was best seen bathing in a rain barrel. She has often been acknowledged as the first screen actress to place erotic emphasis upon her breasts in a time when flat-chested women were the rage. Marlene Dietrich In a number of films made by obsessed, Svengali-styled mentor/director Josef von Sternberg, Marlene Dietrich played seductive, cool females in sexually perverse melodramas. She was Lola Lola, a cheap, smoky-voiced, sensual cabaret singer with stockinged-legs and top hat atop a beer barrel in the Blue Angel nightclub in her greatest film, The Blue Angel (1930), Germany's first sound film. In the atmospheric, seedy film, she manipulatively lured a repressed and obsessed Professor Emmanuel Rath (Emil Jannings) towards his doom by her teasing exoticism while singing Falling In Love Again. And she scandalously wore a men's tuxedo in Morocco (1930) and accepted both a rose and a mouth-to-mouth kiss from a young lady in the cabaret audience - one of the earliest (if not the first) female-to-female kisses. In the highly-stylized Blonde Venus (1932), she performed a cabaret striptease from her full-bodied gorilla suit and then donned a bushy Afro blonde wig to sing Hot Voodoo in a throaty, hoarse voice to the beat of an African drum (...That African tempo has made me a slave, hot voodoo - dance of sin, hot voodoo, worse than gin, I'd follow a cave man right into his cave). Adultery and sadomachism were evident in the unusually frank and suggestive The Scarlet Empress (1934), in which Dietrich played Catherine the Great. - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@LISTSERV.WVU.EDU Sent: Wednesday, September 20, 2006 10:16 PM Subject: Re: sexuality in performance and video This all sounds pretty accurate. I was writing to someone who works on occasion with sexuality (more in writing, I think, than anything else) - he wanted to discuss how it 'played out.' So I was thinking along prac- tical lines. In the last 15 years or so just about everyone is dealing with 'body' - most without any awareness of the history. But nudity in art well predates Duchamp - look at Courbet's Origin of the World (think that's the title) or Turner's drawings. I don't think even in performance it has much to do with Duchamp; I think nudity was present in early film as well as dance at the turn of the last century. - Alan On Wed, 20 Sep 2006, Lucio Agra wrote: After sending I'd also rememebered the concept of liminality proposed by Victor Turner/Richard Scbhechner. Expose itself nude in western societies tends to induce some states of perception analog to the risks concerned to some rituals (like walking on fire, etc.) Lucio On 9/20/06, Lucio Agra [EMAIL PROTECTED] wrote: There's a link uniting performance art, risk, presence and, of course nudity. Not considering the fact that nudity, in various cases, do not attract the issue of sexuality in performance, it is, however, one of the most frequent procedures for it is at the core of any conception of artistic research taking body as a primary medium (Semitotics of Culture). I've been considering that one of the hypothesis for the insistence on nutidty in performance is the overall influence of Marcel Duchamp. His Nude descending the staircases imposed a certain new notion about nudity in art, proposing it as a continuous movement. One cannot despise de role of this image in post-modern/contemporary art's sensibility... greetings Lucio BR On 9/19/06, Alan Sondheim [EMAIL PROTECTED] wrote: Probably not the first book; there are a lot of books on Gk Roman stuff and I have one on Egyptian sexuality revealed in graffiti etc. But maybe I'm wrong. - Alan blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], - general directory of work: http://www.asondheim.org Trace at: http://tracearchive.ntu.ac.uk - search Alan Sondheim http://clc.as.wvu.edu:8080/clc/Members/sondheim blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], - general directory of work: http://www.asondheim.org Trace at: http://tracearchive.ntu.ac.uk - search Alan Sondheim http://clc.as.wvu.edu:8080/clc/Members/sondheim
Re: sexuality in performance and video
) were specifically targeted - and to be avoided.Many times, studios would circumvent problems with the new restrictions by wrapping up a film filled with sex and sinning with a quick climactic scene of moral repentance. Other film-makers avoided censorship by changing the titles ofplays forbidden to be adapted into films. One of the major difficulties with the repressive code was that it was open to varying interpretations.Two Female Challengers to Film Morality:Jean HarlowOne of the earliest sex stars of the silver screen was smart-mouthed, 18-year old platinum blonde Jean Harlow, whoshocked audiences as a sexy floozy with generous glimpses of flesh and her famous line of dialogue - Would you be shocked if I put on something more comfortable? - in her first major role in Hell's Angels (1930). In Goldie (1931),she was noted as the first woman specifically referred to as a tramp in a talking picture. She also appeared as an adulteress in Red-Headed Woman (1932), and had a starring role as a stranded, wise-cracking floozy opposite Clark Gableand a bourgeois, middle-class Mary Astor in a tropical, steamy setting in Red Dust (1932) - Harlow was best seen bathing in a rain barrel. She has often been acknowledged as the first screen actress to place erotic emphasis upon her breastsin a time when flat-chested women were the rage.Marlene DietrichIn a number of films made by obsessed, Svengali-styled mentor/director Josef von Sternberg, Marlene Dietrich played seductive, cool females in sexually perverse melodramas. She was Lola Lola, a cheap, smoky-voiced, sensual cabaretsinger with stockinged-legs and top hat atop a beer barrel in the Blue Angel nightclub in her greatest film, The Blue Angel (1930), Germany's first sound film. In the atmospheric, seedy film, she manipulatively lured a repressed andobsessed Professor Emmanuel Rath (Emil Jannings) towards his doom by her teasing exoticism while singing Falling In Love Again.And she scandalously wore a men's tuxedo in Morocco (1930) and accepted both a rose and a mouth-to-mouth kiss from ayoung lady in the cabaret audience - one of the earliest (if not the first) female-to-female kisses. In the highly-stylized Blonde Venus (1932), she performed a cabaret striptease from her full-bodied gorilla suit and thendonned a bushy Afro blonde wig to sing Hot Voodoo in a throaty, hoarse voice to the beat of an African drum (...That African tempo has made me a slave, hot voodoo - dance of sin, hot voodoo, worse than gin, I'd follow a cave man rightinto his cave). Adultery and sadomachism were evident in the unusually frank and suggestive The Scarlet Empress (1934), in which Dietrich played Catherine the Great.- Original Message -From: Alan Sondheim [EMAIL PROTECTED]To: WRYTING-L@LISTSERV.WVU.EDUSent: Wednesday, September 20, 2006 10:16 PMSubject: Re: sexuality in performance and video This all sounds pretty accurate. I was writing to someone who works on occasion with sexuality (more in writing, I think, than anything else) - he wanted to discuss how it 'played out.' So I was thinking along prac- tical lines. In the last 15 years or so just about everyone is dealing with 'body' - most without any awareness of the history. But nudity in art well predates Duchamp - look at Courbet's Origin of the World (think that's the title) or Turner's drawings. I don't think even in performance it has much to do with Duchamp; I think nudity was present in early film as well as dance at the turn of the last century. - Alan On Wed, 20 Sep 2006, Lucio Agra wrote: After sending I'd also rememebered the concept of liminality proposed by Victor Turner/Richard Scbhechner. Expose itself nude in western societies tends to induce some states of perception analog to the risks concerned to some rituals (like walking on fire, etc.) Lucio On 9/20/06, Lucio Agra [EMAIL PROTECTED] wrote: There's a link uniting performance art, risk, presence and, of course nudity. Not considering the fact that nudity, in various cases, do not attract the issue of sexuality in performance, it is, however, one of the most frequent procedures for it is at the core of any conception of artistic research taking body as a primary medium (Semitotics of Culture). I've been considering that one of the hypothesis for the insistence on nutidty in performance is the overall influence of Marcel Duchamp. His Nude descending the staircases imposed a certain new notion about nudity in art, proposing it as a continuous movement. One cannot despise de role of this image in post-modern/contemporary art's sensibility... greetings Lucio BR On 9/19/06, Alan Sondheim [EMAIL PROTECTED] wrote: Probably not the first book; there are a lot of books on Gk Roman stuff and I have one on Egyptian sexuality revealed in graffiti etc. But maybe I'm wrong. - Alan blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], - general directory of work: http
Re: sexuality in performance and video
of nudity well predates duchamp who used it sparingly while desecnding the staricase yes that corbet is magnificent now hangs proudly in the orsay rodin's nude drawings are the epitome of sex belmer for 20th century nudes nuthin sexier than the naked maja
Re: sexuality in performance and video
lest she be clothed, Steve... ;), --- [EMAIL PROTECTED] wrote: of nudity well predates duchamp who used it sparingly while desecnding the staricase yes that corbet is magnificent now hangs proudly in the orsay rodin's nude drawings are the epitome of sex belmer for 20th century nudes nuthin sexier than the naked maja d^Vizio __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
Re: sexuality in performance and video
japanese bondage pornstar now involved in noise music http://www.google.com/search?sourceid=navclientie=UTF-8rls=GGLG,GGLG:2006-26,GGLG:enq=Mayuko+Hino Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small Business.
Re: sexuality in performance and video
There's a link uniting performance art, risk, presence and, of course nudity. Not considering the fact that nudity, in various cases, do not attract the issue of sexuality in performance, it is, however, one of the most frequent procedures for it is at the core of any conception of artistic research taking body as a primary medium (Semitotics of Culture). I've been considering that one of the hypothesis for the insistence on nutidty in performance is the overall influence of Marcel Duchamp. His Nude descending the staircases imposed a certain new notion about nudity in art, proposing it as a continuous movement. One cannot despise de role of this image in post-modern/contemporary art's sensibility... greetings Lucio BR On 9/19/06, Alan Sondheim [EMAIL PROTECTED] wrote: Probably not the first book; there are a lot of books on Gk Roman stuff and I have one on Egyptian sexuality revealed in graffiti etc. But maybe I'm wrong. - Alan blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], - general directory of work: http://www.asondheim.org Trace at: http://tracearchive.ntu.ac.uk - search Alan Sondheim http://clc.as.wvu.edu:8080/clc/Members/sondheim
Re: sexuality in performance and video
After sending I'd also rememebered the concept of liminality proposed by Victor Turner/Richard Scbhechner. Expose itself nude in western societies tends to induce some states of perception analog to the risks concerned to some rituals (like walking on fire, etc.) Lucio On 9/20/06, Lucio Agra [EMAIL PROTECTED] wrote: There's a link uniting performance art, risk, presence and, of course nudity. Not considering the fact that nudity, in various cases, do not attract the issue of sexuality in performance, it is, however, one of the most frequent procedures for it is at the core of any conception of artistic research taking body as a primary medium (Semitotics of Culture). I've been considering that one of the hypothesis for the insistence on nutidty in performance is the overall influence of Marcel Duchamp. His Nude descending the staircases imposed a certain new notion about nudity in art, proposing it as a continuous movement. One cannot despise de role of this image in post-modern/contemporary art's sensibility... greetings Lucio BR On 9/19/06, Alan Sondheim [EMAIL PROTECTED] wrote: Probably not the first book; there are a lot of books on Gk Roman stuff and I have one on Egyptian sexuality revealed in graffiti etc. But maybe I'm wrong. - Alan blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], - general directory of work: http://www.asondheim.org Trace at: http://tracearchive.ntu.ac.uk - search Alan Sondheim http://clc.as.wvu.edu:8080/clc/Members/sondheim
Re: sexuality in performance and video
This all sounds pretty accurate. I was writing to someone who works on occasion with sexuality (more in writing, I think, than anything else) - he wanted to discuss how it 'played out.' So I was thinking along prac- tical lines. In the last 15 years or so just about everyone is dealing with 'body' - most without any awareness of the history. But nudity in art well predates Duchamp - look at Courbet's Origin of the World (think that's the title) or Turner's drawings. I don't think even in performance it has much to do with Duchamp; I think nudity was present in early film as well as dance at the turn of the last century. - Alan On Wed, 20 Sep 2006, Lucio Agra wrote: After sending I'd also rememebered the concept of liminality proposed by Victor Turner/Richard Scbhechner. Expose itself nude in western societies tends to induce some states of perception analog to the risks concerned to some rituals (like walking on fire, etc.) Lucio On 9/20/06, Lucio Agra [EMAIL PROTECTED] wrote: There's a link uniting performance art, risk, presence and, of course nudity. Not considering the fact that nudity, in various cases, do not attract the issue of sexuality in performance, it is, however, one of the most frequent procedures for it is at the core of any conception of artistic research taking body as a primary medium (Semitotics of Culture). I've been considering that one of the hypothesis for the insistence on nutidty in performance is the overall influence of Marcel Duchamp. His Nude descending the staircases imposed a certain new notion about nudity in art, proposing it as a continuous movement. One cannot despise de role of this image in post-modern/contemporary art's sensibility... greetings Lucio BR On 9/19/06, Alan Sondheim [EMAIL PROTECTED] wrote: Probably not the first book; there are a lot of books on Gk Roman stuff and I have one on Egyptian sexuality revealed in graffiti etc. But maybe I'm wrong. - Alan blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], - general directory of work: http://www.asondheim.org Trace at: http://tracearchive.ntu.ac.uk - search Alan Sondheim http://clc.as.wvu.edu:8080/clc/Members/sondheim blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], - general directory of work: http://www.asondheim.org Trace at: http://tracearchive.ntu.ac.uk - search Alan Sondheim http://clc.as.wvu.edu:8080/clc/Members/sondheim
Re: sexuality in performance and video
I was very proud to see some parents taking their children, maybe 9 to 11 to Marina Abramovic's work at the PICA show.. the most disturbing image i suppose was the frame which showed a woman whose hair was covering her face repeatedly ramming a skull between her breasts, her breath through continuous action produced an odd visual echo of the female sex organs in the structure of her hair. the skull became for me a kind of phallic recapitulation of death's pounding on our emotions, our 'heart'.. but this became other things as well, structures of support, the materiality and unresolvability of representation etc. These are amazing films I thought and worked well.. the sex/death theme is somewhat of a cliche' to the theorist and or average reader of theory, but as I found out with Kara, she had no such circuit and didn't 'get' the skull image, didn't associate the pounding of the skull into the chest with a sexual act etc.. To her my explanation seemed rather oblique and yet it came fully formed to my mind as a kind of gestalt or cathex or mileux or plateau.. I've just ordered a book about Roman perceptions of sexuality. Looking at Lovemaking: Constructions of Sexuality in Roman Art, 100 B.C.-A.D. 250 by John R. Clarke Rather than enjoy erotic images in private, the Romans placed scenes of lovemaking on everyday objects and walls in public spaces. John Clarke discusses the different view of sexuality these objects and their use implies. This is the first work to discuss ancient sexuality emphasizing the evidence to be found in artifacts rather than in the literary record. Christianity has deformed human sexuality as has everything else, at this point I feel that human sexuality and its contamination into the field of representation is mangled beyond recognition and generally is part of our basic social aporia. like almost everything else, the cards are loaded against great breakthroughs in these fields. The average person and even the non-average person are at great odds to produce anything in this area which isn't somehow tainted with pathology of one sort or another depending on whose percieving a given perception. that being said, there are all kinds of positive and natural nudity and pornography sites, natural breast sites etc.. there are people trying to produce a more wholesome vision of pornography, but the darker drugs are out there, and many of them appeal in one way or another no matter their healthiness in relation to the society at large. There's a lot of good books out there on these subjects. I read Caught Looking: Feminism, Pornography, and Censorship (Limited 1st) by Ellis, Kate Et Al-Editors many years ago and I think it frames the issues fairly well. I may still have this floating around somewhere. Its not a big book, and the theory is pretty soft but rational. One of my gages recently is wearing my naughty carnival pins out. people are really intrigued by these sometimes and so shocked at their frankness. It really weird to see their faces when I tell them they are replicas from the 15th century.. As repressed as the middle ages were, there were some valves that we don't have. We have drains. Big industrial culverts, whereas there was still some ludicism left in midieval representations left over from the classical. Its the ludic which is missing, and the in your face, over the top hierarchicalizing of sexual attractiveness which has always been there I suppose, but just seems to like everything else have its own mutation rate. Whatever is 'really' going on with it, we have to consider that the effects in the long run will be biological and will drive cultural mutation in a plethora of ways, positive and negative. Looking at the symbolism of the vagina dentata for example is interesting, as it is a clever program for dedifferentiating sexual dimorphism as an intiation into space and time and landscape.. there are old maps out of these dungeons if one only knows how to read them.. thats what i get anyway.. interesting post alan. - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@LISTSERV.WVU.EDU Sent: Tuesday, September 19, 2006 11:06 AM Subject: sexuality in performance and video Some notes on sexuality in performance, video, etc. (This is in part a follow-up to a recent discussion elsewhere, and is hopelessly naive, 'off the cuff,' but perhaps of interest anyway.) First, it seems that sexual representation is overdetermined; the result is it tends to dominate everything else. If I have a sexual work in among a number of non-sexual ones, it's the sexual work that's remembered and that actually forms the tenor of subsequent discussion. Our culture is too confused and contradictory in relation to sexuality - it never resolves - and sexual work can open a can of worms. Second, there's a huge responsibility involved, ethically and psychologi- ically, in terms of sexual or even nude
Re: sexuality in performance and video
oh how Freudian af ew, Alan. reaching for Ana to process reflect this perticular typoid you've created, Brotherfor Allah the Seestahs... Ahm supposin cuz Ah have NO idea wha she's gonna say... 13:45 9/19/06 586 bytes overderm- ination ~ raitorni-malaria raitorni-wallaroos raitorni-moonwa raitorni-mutatio Right Orn! Moon wa Tsuki... ga Fuffwa na kankei ga arimasenka? and I'm aboat to open Lanny's post to this thred, that honestly I was aware of a cupple hours ago, but couldn't attend to so waited til... welll 13:45 to assisass.com this post Quite a mutatio, Alan. By and large I tend to agree with you. Your points all provoke interest/reflection... cuz I*I [oops that's *I*]... have performed (danced...?) naked... a nuber of times. Specifically in Japan I recall one performance at a Temple in Kyoto.. that I met a Japanese dancer who was to perform next night in a different performance series, elsewhere (back in Tokyo, actually), to which I was also contributory at a later date... but anyway... HE performed naked, himself, next evening.. adn the powers that be SO scolded his nude intervention.. adn reminded everyone that nakedness was unacceptable. NOT well accepted.. quite disgruntled all. Save the admiration he a dn I felt for each other's willingness to RISK.. WHICH we all know is where the creative lives! ie. In the risk. Those guys have a strange take on the money shot too don't they... Sometimes I'm shocked at HOW much sperm a dot matrix scramble can project. The occassion of that particular performance I gave as part of a week long workshop was realized from the same morning when i woke dreaming just what it was I would DO that evening. I wont go into it here... but in preparation, two hours before my performance that evening I went to a local Sento (Pulic Bath) and not only bathed... but shaved... EVERY hair from my body. I was aware of the gaze of the other men around me... curious looks, yes, while I shaved... but I felt a certain level of mutual respect from the other men in the bath house. How the actual and the theatrical layover here i find interesting. Over-dermination and the Emperor's chaste titty. D^ --- Alan Sondheim [EMAIL PROTECTED] wrote: Some notes on sexuality in performance, video, etc. (This is in part a follow-up to a recent discussion elsewhere, and is hopelessly naive, 'off the cuff,' but perhaps of interest anyway.) First, it seems that sexual representation is overdetermined; the result is it tends to dominate everything else. If I have a sexual work in among a number of non-sexual ones, it's the sexual work that's remembered and that actually forms the tenor of subsequent discussion. Our culture is too confused and contradictory in relation to sexuality - it never resolves - and sexual work can open a can of worms. Second, there's a huge responsibility involved, ethically and psychologi- ically, in terms of sexual or even nude representation; if I'm using my own body, I can take that, but if I work with someone else, he or she might not realize the implications. So one has to be careful. Third, using one's own body creates an intense and unresolved disturbance for an audience, when confronted, not only with nudity, but possibly with the nudity of someone present (dressed) in the room - I'm talking about video and reality co-mingling. And this may be difficult to take. All of these situations result in an unresolvable problematic, usually produc- tive of intense and on occasion negative emotions. After all, it's the audience member's own body, own responses (sexual and psychological) that is at stake. Fourth, most members of an audience will resist arousal - and while one can generate any kind of powerful emotions in an audience (and that's generally a good thing), arousal is taboo. Anger can be one result - just like anger against gays often has to do with one's own impulses in that direction. Fifth, we're living in a culture which hinges and intensifies explicit sexual presentation and censoring; nudity is never complete, is always dirty, and always desirable as a result. Television is full of this - which then has to be situated elsewhere and elsewise in a performance. I tend to favor pornography over eroticism (although I don't own any pornography and/or practice it) on the basis of honesty; one is confronted with a kind of truth that eroticism hides. And I think that eroticism spills out into and around capital - it's the 'way' the culture works, even though pornography probably generates more money. To some extent pornography is pornography because it is taboo - a kind of circular reasoning - after all what's being presented is usually fucking of one sort or another, an everyday act. Sixth, pornography is mixed with violence in an equation that I associate with Iraq mixed with Al
