Monday, November 14, 2016
HYPER-EROTICIZING of Flesh/ The PROGRAMMABLE Self
The reforming pervert is a live wire, blind folded with a gun.
Much like an inmate from an institution he wants so much not to resort to old habits. But in desperation he is constantly tempted.
During the early 80’s of New York’s Public Access television, adult programming were broadcasted after-hours. These shows featured orgies, strip shows, vignettes from porn films, and a magazine show with interview segments of adult film stars, previews of adult films and a pseudo pornographer who walked the streets with camera and sweet-talked and seduced women into exposing themselves and off and on engaged in sexual activity.
These were what became of internet porn, post artist and muse relationships whereby the art muse became sex muse. Fetishism and design porn of the 90’s quickly elevated into websites which promoted videos posted by the general public of sexual conquests. The pervert was given political freedom with publishing of adult magazines like Playboy.
At once it was okay for him to lust after nude photographs of centerfolds. The idea of prisoners pasting images of naked girls on cell walls became a revered activity for the pervert to write in with sex stories, buy with regularity these adult magazines which featured interviews with celebrities to give a sense of importance. A reformed pervert in history was also celebrated artist.
Fetishism took on prospects of high art expressed by photographers like Man Ray, Helmut Newton and later Richard Kern. Man Ray gave off a sense of stylized imagery and often surreal portrayal of nude women. His art went beyond suggestion of perversion as he was indeed an amazing photographer more than just someone whose art gave way to titillation.
That was more expressed in Helmut Newton’s photography. He pushed the edge of sexuality by politicizing issues of class, power and hedonism. There was always a sense of empowerment and wealth in his photographs.
Richard Kern on the other-hand promoted the barely legal, hot-shot pics of young women, seemingly old enough to pose naked but impressionably young. Although these images come from sex and smut, they are undeniably works of art, as Richard Kern manages a rawness of an expressionist painter and conscience of someone drawn to the chronicling of young sexuality much like Larry Clark.
Sexuality and surrealism have always been concurrent as seen in paintings by Dali and films by Bunuel. Visual text as well as the literary text pertaining to surrealism inspires a highly conscious and stimulated state, perhaps brought about by use of drugs, mania or enlightenment.
The yuppie movement of the 80’s brought about a conditioned state of stupor and sexuality as witnessed in coming of age movies like Fast Times at Ridgemont High but also the early into mid 90’s produced adult Hollywood films including Basic Instinct, featuring the crossing and uncrossing of Sharon Stone’s legs to reveal pubis.
9 and a ½ Weeks and Wild Orchid heightened the sex appeal of actor Mickey Rourke.
The shock of sexuality in modern Hollywood films has a long history, Midnight Cowboy, Carnal Knowledge, Body Double, Crimes of the Heart.
As often as most men enrich their sexual conscience by looking at sexualized images and watching adult films, the pervert is ruined by such activity and it is more or not less an accentuating of his neurosis. Internet porn within a span of years quickly became the go-to-fix of most sexual deviants.
Hyper-eroticizing of the flesh is attentiveness given to the human body. Importance of the erogenous zone is central as to how the human body emits light, transformation and conscientiousness.
In its detail hyper-eroticism manages an arousal based on care given to the body, physical stature, emotiveness and sensitivity, sense of arousal, intellectual stimulation, priority expressed in the interpretation of art, perception and instinct plus the will with which we react and respond.
The sexual organs are important to the supposition of eroticism, the phallus, vaginal and anal cavity. Copulation as a suggestive act is not of concern. Understandably two bodies merging in the sex act is the total determination of a heightened erotic state, the individual in his or her abstinence can and does incite a means of self-arousal.
Masturbatory activity need not be definitive of the hyper-eroticized self. Sexual prompts can be remedied with actualizing of sexual tension by creating works of art. Knowingly, the sexualized state is an innate drive in the human person. Fornicating is an act of instinct more than conscience, but in order not to criminalize the act one is led to prioritize the behavior with which we communicate, show of respect, concern and honor for humanity.
Making art as inspired by a sexual drive is the cult status of the reforming pervert. To art (verbalizing of the word art) is a prompt much like the insertion of the erect penis into the moist vagina. Rather it is determined by the artist in his isolation.
How then does the perverted artist come to terms with his perversion?
He either suffers from the predicament of Marquis de Sade or triumphs over such ridicule by becoming film director like Woody Allen. Pornographers are those who are obsessed and possessed. Respected filmmakers can and often use sexuality and indeed pornography as art to articulate an overwhelming platform.
Quentin Tarantino is one filmmaker who uses violence as pornographic prompt.
With the aforementioned de Sade, literature is important in creating feelings of a hyper-eroticized self. Perhaps the eroticism of Anais Nin contributes to this. Somehow intellectualism and sexuality, at least the sexual appeal driven from reading intellectual literature has been relevant over the years in books by Simone de Beauvoir, Roland Barthes and Jean Baudrillard.
The self as programmable is a time when through a trance or meditation the body can sense and emit mental images and captions, these are non-representational and are not part of the prompt to make art. Instead they encourage stimulation and hot excitement from the body as machine.