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
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
Re: The Lek: Sex dances for one to four people.
And of course the Marquis de Sade http://www.sade-ecrivain.com/ Geert On 8/10/2006, at 8:31 AM, Alan Sondheim wrote: 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:
270/365, Bobby
Bobby looks like he could be a race car driver, but I'm not so sure most people would guess he races midget cars (and not because it's tough to picture him racing open wheel cars or on a dirt track). 40 words, 40 years 365 days, 365 people http://www.logolalia.com/40x365
global chessboard
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Re: The Lek: Sex dances for one to four people.
For me the discourse is dialectical; masturbation etc. occurs among the primate and a number of other animals. So it's a question of representa- tion. So I would imagine that masturbation would be presenced everywhere - even an absent discourse would indicate a problematic around the act. - Alan On Sun, 8 Oct 2006, Dr. T. Michael Roberts wrote: Orgy paintings were common on the walls of Roman villas. Sex was not taken to be as much a private matter at that time. These painting were displayed in public areas, not in private bedrooms. Many of the Minoan Bull-jumping frescos seem to have a sexual element. Public orgies were as much a part of public life in Carthage as July 4th parades are in modern America and were displayed in public art. The danger in talking about sexuality is that it is itself an effect of discourse constructed through a discourse process marked by the constraints of a particular cultural time and place and by the positioning of both narrator and intended audience within that culture. Plato has Socrates mention a popular prostitute of the time, Diotima, in the Symposium. Symposium originally meant drinking party and prostitutes were routinely hired to entertain at such gathering. A good source on all of this is Reading, Writing, and Rewriting the Prostitute Body by Shannon Bell. --- mpalmer [EMAIL PROTECTED] 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.
Re: nettime Gender and You (fwd)
-- Forwarded message -- Date: Sun, 8 Oct 2006 13:21:02 -0400 (EDT) From: Alan Sondheim [EMAIL PROTECTED] To: Kali Tal [EMAIL PROTECTED] Cc: nettime management system nettime-l@bbs.thing.net Subject: Re: nettime Gender and You I'm not sure how much longer nettime will let me go on, but I feel again I have to respond; now I'm an Orientalist as well as sexist. This is one of the ugliest exchanges I've had - maybe the ugliest - but I can't let it go. On Sat, 7 Oct 2006, Kali Tal wrote: I do find the Nikuko pieces Orientalist. I think Alan waves aside the crucial issue of who wields the power in creating and enforcing representation in a given culture; from my perspective it's absurd to argue that members of groups with different sets of privilege are still somehow equal on the field of representation. The male student who poses as a woman may learn a lesson about what it's like for women, but he's doing this in an environment where real women are already largely displaced by men playing women. He will of course bring his own stereotypes to the role play, and whether he intends it or not he's more likely to reinscribe sexist stereotypes than to violate them. If you did read the Nikuko work you'd know it's not enforcing the repre- sentation of any given culture; it's working out of the Kojiki. I was waiting for you to say this - from your viewpoint - and I still feel essentialist - any representation of the Other is always already damned. I'd like to know where you find - exactly - the stereotyping in the Nikuko material, since so called Orientals seem to have liked it. Second, the male student learns a lesson yes about what it's like for women - but I never claimed anything more. Judging by the results, the exercise was useful. And there was no time to reinscribe sexist stereo- types although of course you won't agree - the whole exercise takes about ten minutes. What you're doing here is disgusting - damning the male (or female) student for _trying_ - already accusing him of sexual stereotypes - which assumes he learns nothing about questioning such. Straw woman arguments: I'm an essentialist (I'm a constructivist); I don't see the relationship here, but when you announce that you're writing as a women - and when other women have seen the material differently - it comes across as essential - otherwise, why write it? I'm enforcing PC (I have no power to do that--I believe that PC-as- an-oppressive-force is an invention of people who benefit from unearned privilege and get annoyed when challenged); Yes, but it's a hell of a lot more than that, and you're begging the question. This is glib. I haven't read his work (I have; I just don't see the same things he sees in it); I accuse him of cruising (I don't--I accuse him of reinforcing sexist stereotypes); If you're read the work, why didn't you know that this material was abandoned years ago? I claim to speak for all women (I don't; I speak AS a woman, which is a completely different thing); I say I know what he's feeling or doing (I don't--I only say I know what he's writing); that I don't understand his work is fiction (I do--but nothing says fictional representation can't be oppressive); No it's not fiction - I don't have the original text here, but I wouldn't claim that it is, so apologies if I left that impression. It's a proble- matic of writing, a problematic of discourse, and isn't intended to be either fiction or poetry or any other pigeon-holing. I accuse him of violence (I didn't--I just don't like the way he writes women); I do him violence (he disagrees with the comparisons I've made across race and gender lines). Which does violence - bringing up words like 'blackface' is more than a 'comparison.' You're accusing me of violence and stereotyping - this is what you're doing in fact. You have no quotes for example from my work (although I'm sure you can find them) - so it's a question of differend - anyone reading this would be sure there's 'something' there since you say it's so. And that's a kind of violence. Apply your theory to yourself. Alan has posted a tremendous amount of text over the last decades, a good deal of which I have appreciated, as I said previously. I think it perfectly reasonable to critique one aspect of that text--the sexism, which seems to me clearly visible, whether intentional or not. I am well aware that not all women will agree with my critique I think it's reasonable to question absolutely everything - but you weren't questioning - you were and are condemning. And there's a huge difference. This isn't a discussion, at least not on my end. but then, I'm not an essentialist and so I don't feel that women need to speak in a unanimous voice. I just call it like I see it. As long as the voice is speaking 'as a woman.' - Alan Kali __ On Oct 7, 2006, at 1:51 PM, Alan Sondheim wrote: I feel once again I have to
Re: The Lek: Sex dances for one to four people.
This is fascinating. Given the way desire operates, one might say all sex, at least possibly masculine sex, is masturbation - certainly if based on what's considered the economy of exchange. On the other hand, given such an overdetermined subject or locus, I think almost any position, any theory, holds to an extent. Since it's a psycho- analytical positioning to some extent, I don't feel that either verifica- tion procedures or testability is necessarily possible. - Alan On Sun, 8 Oct 2006, Dr. T. Michael Roberts wrote: Or make it the absent center of a discursive structure that only attains coherence and closure on permission that this center, this center which everything refers to but which is never presented, is what the discourse is structured around or, more simply, what it is about. What if masturbation is real sex and other sex is real only to the extent that it performs a core script iterated endlessly as tropes of masturbatory fantasy? What if the traumatic real being hidden is an absence of anything for the script of desire to refer to or be about? What if the script itself is a purloined letter hidden in plain sight? What if we were afraid to touch it is, like zero, a place holder, a necessary way of signifying nothing which is necessary to making signification possible. --- Alan Sondheim [EMAIL PROTECTED] wrote: For me the discourse is dialectical; masturbation etc. occurs among the primate and a number of other animals. So it's a question of representa- tion. So I would imagine that masturbation would be presenced everywhere - even an absent discourse would indicate a problematic around the act. - Alan On Sun, 8 Oct 2006, Dr. T. Michael Roberts wrote: Orgy paintings were common on the walls of Roman villas. Sex was not taken to be as much a private matter at that time. These painting were displayed in public areas, not in private bedrooms. Many of the Minoan Bull-jumping frescos seem to have a sexual element. Public orgies were as much a part of public life in Carthage as July 4th parades are in modern America and were displayed in public art. The danger in talking about sexuality is that it is itself an effect of discourse constructed through a discourse process marked by the constraints of a particular cultural time and place and by the positioning of both narrator and intended audience within that culture. Plato has Socrates mention a popular prostitute of the time, Diotima, in the Symposium. Symposium originally meant drinking party and prostitutes were routinely hired to entertain at such gathering. A good source on all of this is Reading, Writing, and Rewriting the Prostitute Body by Shannon Bell. --- mpalmer [EMAIL PROTECTED] 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
live chat with John Cayley 10/9 (Leonardo Electronic Almanac Discussion)
_Leonardo Electronic Almanac Discussion (LEAD): Vol 14 No 5_ :: Live chat with John Cayley about writing in immersive VR, new media poetics, and other topics. :: Chat date: Monday, October 9. :: Chat time: 11am West Coat US / 2pm East Coast US / 8pm Paris FR / 4am Melbourne AU :: LEAD is an open forum around the New Media Poetics special Issue of Leonardo Electronic Almanac. Chat instructions are below. The LEA website includes instructions and a complete list of upcoming chats: http://www.leoalmanac.org/journal/Vol_14/lea_v14_n05-06/forum.asp. John Cayley is a London-based poet, translator, publisher and bookdealer. Links to his writing in networked and programmable media are at www.shadoof.net/in. His last printed book of poems, adaptations and translations was Ink Bamboo (London: Agenda Belew, 1996). Cayley was the winner of the Electronic Literature Organization's Award for Poetry 2001 (www.eliterature.org). He is an Honorary Research Associate in the Department of English, Royal Holloway College, University of London, and has taught and directed research at the University of California San Diego and Brown University, amongst other institutions. His most recent work explores ambient poetics in programmable media, with parallel theoretical interventions concerning the role of code in writing and the temporal properties of textuality (bibliographic links are available from the shadoof site). :: How to participate in the live chat? Live chats will use Jabber (http://www.jabber.org/), an open, secure, ad-free alternative to consumer IM services like AIM, ICQ, MSN, and Yahoo. It is the most widely-used open source instant messaging and chat protocol. The New Media Poetics chatroom is on the jabber.org public server under the name leanmp and the password leoalmanac. Follow three easy steps and you are ready to join the chat: 1) Download and install a Jabber client. A list of recommended Jabber clients is available at the following url: http://www.jabber.org/software/clients.shtml. For Windows users, we recommend the Exodus client. For Macintosh users, please use Psi, as the other recommended clients do not consistently register on the Jabber server. For Linux, Psi is also available, but the other recommended clients should work as well. 2) Register as a user on the jabber.org public server. When you first open your Jabber client you will see a start screen. If you do not see this screen, or if you are not starting the client for the first time, the screen is also available in a pull down menu as Account Details or Preferences (depending on your Jabber client). Enter a username, password, and server. Use any username and password you choose. Enter jabber.org as the server. When you register, if your proposed username is taken, you need to choose another. Check the button for new account or to automatically register the account (depending on your client). Note: you may not be able to register if you are not using one of the recommended clients listed above. Hit OK or Login. Your Jabber client will then automatically register you and connect you to the jabber.org server. 3) At this point, you are ready to chat, but there is one more step: you must join the chatroom. Select Join a Chat Room from your client's pull down menu. Enter the name of the chat room: leanmp. Enter the password: leoalmanac. You can also specify a nickname or handle to use while in the chatroom. Hit Finish or OK to join the chat. The chat room window will open and you are ready to go! Note: the chat room may not be available outside of scheduled chat times. Additional information is available at the Jabber userguide: http://www.jabber.org/user/userguide/.
Re: The Lek: Sex dances for one to four people.
I've been amazed by the recent work of Marina Abramovic called Balkan Erotic Epic, which is in some aspects connected to this discussion. Now the exhibition arrived here in Sao Paulo but I can quote one of its shows in English: http://www.skny.com/lasso-bin/exhibition.lasso?-token.ExID=10209 Having to work in this subject for the purpose of a lecture on her performances, I noticed how familiar are some of these pagan rituals to some of our conceptions on sexuality. best Lucio BROn 10/8/06, Alan Sondheim [EMAIL PROTECTED] wrote: This is fascinating. Given the way desire operates, one might say all sex,at least possibly masculine sex, is masturbation - certainly if based onwhat's considered the economy of exchange.On the other hand, given such an overdetermined subject or locus, I think almost any position, any theory, holds to an extent. Since it's a psycho-analytical positioning to some extent, I don't feel that either verifica-tion procedures or testability is necessarily possible. - AlanOn Sun, 8 Oct 2006, Dr. T. Michael Roberts wrote: Or make it the absent center of a discursive structure that only attains coherence and closure on permission that this center, this center which everything refers to but which is never presented, is what the discourse is structured around or, more simply, what it is about. What if masturbation is real sex and other sex is real only to the extent that it performs a core script iterated endlessly as tropes of masturbatory fantasy? What if the traumatic real being hidden is an absence of anything for the script of desire to refer to or be about? What if the script itself is a purloined letter hidden in plain sight? What if "we were afraid to touch it" is, like zero, a place holder, a necessary way of signifying nothing which is necessary to making signification possible. --- Alan Sondheim [EMAIL PROTECTED] wrote: For me the discourse is dialectical; masturbation etc. occurs among the primate and a number of other animals. So it's a question of representa- tion. So I would imagine that masturbation would be presenced everywhere - even an absent discourse would indicate a problematic around the act. - Alan On Sun, 8 Oct 2006, Dr. T. Michael Roberts wrote: Orgy paintings were common on the walls of Roman villas. Sex was not taken to be as much a private matter at that time. These painting were displayed in public areas, not in private bedrooms. Many of the Minoan "Bull-jumping" frescos seem to have a sexual element. Public orgies were as much a part of public life in Carthage as July 4th parades are in modern America and were displayed in public art. The danger in talking about "sexuality" is that it is itself an effect of discourse constructed through a discourse process marked by the constraints of a particular cultural time and place and by the positioning of both narrator and intended audience within that culture. Plato has Socrates mention a popular prostitute of the time, Diotima, in the Symposium. Symposium originally meant "drinking party" and prostitutes were routinely hired to entertain at such gathering. A good source on all of this is Reading, Writing, and Rewriting the Prostitute Body by Shannon Bell. --- mpalmer [EMAIL PROTECTED] 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
