Wednesday, October 25, 2017
OF WHITENESS AND THE FEMALE / Return to Black Beauty / Hyper-femininity
Understanding nuance of how white female prompts to infiltrate intellectualism and sex in the displaced person one has to look to art, fashion, literature and cinema.
Telling of what is art history never lays credit to craftsmanship of the bush man or artist of African origin. Works, mostly sculptures founded in traditional African art are given attention mostly as part of a curated history.
From Byzantine art to what is normally understood to be modern art, the white European male artist, reflected also in the coordinated American, brought awareness to what is singularly defined as art.
Indigenous art has always found its importance in a marginalized art movement. They are given presentation of a specialized and often debased responsibility.
Interpretation and influence of what is the white female in all of this is her pursuance and edit as muse and point of distraction and focus.
Claim of the white female as universal muse is contradictory to the black woman as universal mother.
Elements such as acute awareness and introspection have always been given dynamic of what is white intelligence; such that portrayal of white artistry throughout history is made basis for modern intellectualism.
The spin can be understood as the abstracting of the black model and principle, wealth of information founded in birth place of man and evolution.
If it can be said birth place of mankind is continent of Africa, then everything of notable worth pours out of that very place and it's people; idea pertaining to royalty and an assertion of power and wealth.
The white female in her depiction through the Victorian Age, Pre-Raphaelite movement, French New Wave, American Cinema, Pornography and Rock and Roll, the groupie and sex muse, overall muse and model for art has worn on conscience of the displaced person.
The white female's visibility as psychic torment for sexual persuasion is in order for neurosis. It is neither the problem and curiosity of what is "never to be had" nor "warning placed upon". Her preponderance of what is symbolic to the displaced person is different from the accepted, although pigeon-holed black person of residence.
The white female is sold as export, Brigitte Bardot from France, Sophia Loren from Italy, Madonna Ciccone from America.
Discourse of race is inherited in maintenance of what is ingrained within every dialogue of the black and white, attributed to slavery and persecution. The displaced person's governance is of the borrowed and rejected; something relative in modern disrespect of the immigrant. He/She; the immigrant is a dancer without partner, therefore his or her own tendency and will is to fend for him or herself.
The white female is made disposable to him whereas the black person of origin is given the redirect in the unconscionable intent of racism.
Black is black and in the modernist intent of white supremacy the white female is query to all that stems from intellect and sex, the id and super ego, rationalization of what is beauty and perversion.
With refrain from displaced person's seduction into intellectualizing of beauty; its white source and hurried inclusion into subcultures of art is made relevant when he, the person in question, enables an entry into his or her cultural history, of native tongue, cuisine or an affirmation of blackness.
Blackness in a post-post modernist interpretation is made unique to the person. However there has to be an understanding of what is thug, savage or gangsta.
Once the inventiveness of sex has been polluted by art, music, fashion and pornography, the displaced person prioritizes sex more than just of a bodily and sensationalistic order. It becomes a form of language. Neuroticism and peculiarity of fetishes become all too familiar.
Although the white female at this point is no longer of importance or part of a neurosis; the displaced person finds it difficult in promoting an accordance with the hyper-feminine or gangsta female, subject of which he meets his orgiastic behavior.
He spends the rest of his life torn between enacting of what was once normalized in the influence of white female on subject of intellect and sex and attempt at order and accordance of what is blackness with respect to the black woman as less an earth mother and diva, made more so sensationalized as muse.
Struggle then becomes differentiation between orgiastic behavior, intellectualism and humanism.
Care and respect for otherworldliness and the supernatural overwhelms all that is spiritual.
It is of this nature that the displaced person finds understanding.
Thursday, July 13, 2017
ARTIST AND MUSE
Order for Working Relationships between Men and Women
In Business and Otherwise
Power-positioning in the virtual world, male and female posturing, interspersed with masculinization and feminization of the celebrity self-image, what current themes and topics men and women share in thread conversations, posts as status updates, images on Instagram and in Tweets irrespective of each other, all factors into who we are as gendered groups and our ability to associate and dissociate.
Interweb connectivity then serves as playground for furthering intellectual body sizing and maneuverability on what each sex values as important in-between pop-polluting with hilarity, social media becoming a conscious avenue for flinging spontaneous thoughts in reference to male and female idealization and how we manage confluence within our separate yet controlled gradual evolution.
Gender and sexual politics has endured a manifest ever since sex curatorial in popular culture of young pop diva, a carry-over from 1980’s Madonna craze. During early to mid-90’s a cultural explosion featured a burgeoning group, the Barely Legal, young female explosively given a sexual identity embracing both innocence of pre-teen and promiscuity of the adult female.
This then becomes Hollywoodizing of the young female as product permeating search for the next big star as seen in television programs set up to find pop idols and super models marketed for a general public less intuitive on exceptional talent, more so reliant on general aspects of fame and persona.
Over time there has been subjectively less introduction of what would be considered “genius” talent as trade-off for something more commercial. Those who exhibit overwhelming brilliance and are given marketability govern an upper echelon of celebrity. The carry-over is evident in how the younger demographic are targeted. Rise for such acknowledgement began with the Reality Show which cost little money to make; extent of artistry came in post-production, making the producers great profit. Reward for the particular form of adventurism in television production gave way to unsuspecting stars and idols. That notion of a “nobody” becoming “somebody” was the sentiment of Andy Warhol’s statement, “In the future, everyone will be world famous for 15 minutes”.
Westernized notion of beauty has been “blue-eyed, blonde girl”. As response to Madonna’s street-wise and self-professed authority, primary factors of her persona, a more Mickey Mouse Club attribute was given Britney Spears, different generation’s answer to Debbie Gibson, 1980’s pop star. Spears and Christina Aguilera spearheaded new notion of the female pop star, something which a decade later saw globalization in Miley Cyrus’ Hannah Montana.
Given commercialization of this new product, it was made clear transport was between merchandizing the new viral phenomenon into conscience of most men, what has been stressing of sex in the young adult male and what was purported to be the “dirty old man”, by parlance referencing Humbert Humbert from Vladimir Nabakov’s, Lolita, how Barely Legal magazine soon led to internet porn, a moment when the art muse became sex muse.
In Marnina Gonick’s article, Between “Girl Power” and “Reviving Ophelia”:Constituting the Neoliberal Girl Subject, she reflects, “Since the early 1990s, the popular media, popular literature, television, films, academic conferences, and special issues of feminist journals have been participants in an incredible proliferation of images, texts, and discourses around girls and girlhood in the late twentieth and early twenty-first centuries”.
Furthermore, “However, a close examination of this amassing of images and discourses also raises some critical questions, opening up further perspectives on what they may mean about changing constructions of girlhood, shifting subjectivities for girls, and their relationship to modernity”.
Girl Power given a face and concentration in pop groups, Spice Girls being the most dominant, showcased the “new girl” who governed outside boundaries of femininity, whereas “Reviving Ophelia” valued the girl as vulnerable and passive.
Marnina Gonick’s article investigates how the two realms of discussion, made popular in the international best-selling book by U.S. psychologist Mary Pipher entitled, Reviving Ophelia: Saving the Selves of Adolescent Girls, position girls separately in relation to the emerging configurations of subjectivity demanded by shifting relations of production, world economy, and redefined relationships between governments and citizens related to the rise of neoliberal policy and practice.
- “how emerging forms of femininity are linked to shifting cultural ideals of personhood, individuality, and agency and how these are, in turn, reflective of social, economic, and political changes”.
Idea of a self-governing “new girl” was represented in emergence of the Riot Grrrl movement, an underground feminist punk movement that originated in the state of Washington and Washington, D.C. As a subcultural movement it combined feminist consciousness and punk culture and politics. It also promoted musical acts that served as an inspiration for a musical movement that inspired women to express themselves the way men had all along.
Vulnerability among young girls spurned a subculture derivative of what was known as Emo, a rock music genre characterized by expressive and confessional lyrics, which emerged as a post-hardcore musical style from the mid-1980’s hardcore-punk movement of Washington, D.C.
Emo has been associated with a stereotype that includes angst and sensitivity. An Emo girl would be more than likely to be depressed, attempt suicide or cause bodily harm, like cutting, a prevalent behavior where girls with knife or blade cut themselves.
A modernized merging of the angst-ridden girl with subtlety of perversion and the docile is the Suicide Girl, which formerly originated from an on-line community based website that revolves around pin-up photography of young tattooed women known as the Suicide Girls.
These circumstances in how the young female thrusted her sexual and proverbial defiant and deviant conscience onto society spurned a new popular feminist movement which broadened discussion on how varying subjectivity of female transcendence could co-exist within a “gendered, raced, classed and sexed identities”.
In Mirnina Gonick’s article she refers to Lesly Johnson who suggests history of the gendered role of the female in the 1950’s experienced a cultural shift, which Gonick argues “is an important antecedent to current transformations”.
Bettina May, Las Vegas-based burlesque performer, model, photographer and vintage stylist.
“It was during the 1950’s that the historical constitution of an opposition between womanhood and personhood was disrupted and women were, for the first time, recognized as subjects within discourses of modernity”.
Women were previously subjected to roles as lesser to a man’s rationality and individuality.
As Gonick explains, “Women were located in the subordinate position of binaries such as passivity and activity, agent and victim, and subject and object and thus were constituted as outside prevailing definitions of full personhood.”
As many feminist youth researchers have noted expressed in the Gonick article, “these same cultural definitions precluded young women from meeting the criteria of modern adolescence in the form of the individual en route to becoming the self-determining adult”.
Overwhelming factor behind the shift was due to the “feminist agenda of the time” but also “as the result of women’s crucial role in the processes of modernization itself. Women’s involvement as both laborers and as consumers created new demand for unprecedented forms of technologies and novel forms of cultural goods”.
A conclusiveness drawn in the underpinning of how men and women co-angular and form a balance within relationships in a non-working or working and business setting is evident as mass-approximation of ideas and gender proclivity within the roles of the artist and the muse.
Modernizing of functionability between the artist and muse can be found in photographs Alfred Stieglitz took of Georgia O’Keefe, film work Andy Warhol accomplished using Edie Sedgwick as model and the sexually sensational partnership of Jeff Koons and Ilona Staller, also known as Cicciolina.
The artist yearns for symbiosis and symmetry within his art. Origin of the artist’s query is in an intellectual thought, an idea he stumbles upon by way of sketch, a psychic prompt, inspiration, all in accord with refrain from stagnancy. Allowing for common understanding of his role, he self-wills a concept in preparation for a piece of art. As with the order of gravity, there’s a tug and pull, a theory founded in the life experience. The art riddle more or less takes on a supernatural formulation whereby the artist is prone to spontaneous interventions.
In lieu of a hypnotic and unexpected momentous occurrence which brings to a stop any and all of his schedule to chronicle and pinpoint this surprise, ultimately referred to as inspiration, he values physicality of the muse, as someone he channels his opinions on art, a relationship which takes on parameters of power and control, love and sex.
The need for an intervention is his acknowledgement and need and want for poetry. Much of this stems from chaos meeting order and not sentiment of verse and meter. Other elements of art play into the defining point of inspiration whether actual poetry, prose, music, theater or film. Inspiration is means of enlightenment for the artist. He values it more than anything. The muse therefore has to be a constant source of inspiration.
Beauty for the artist is aestheticized and objectified. The artist seeks physical beauty in his muse. Beauty therefore being a combination of the artist’s neurotic agenda, what elements of his libido is magnified in the muse. Essence of the muse is the artist accepting and rejecting himself. The love/hate principle is prevalent in how the artist attracts the muse. Circumstantially there is no prerequisite. Everything is choreographed in a first chance meeting. Immediate attraction is felt more than just as a physical assumption. It is processed as transcendence. Sexual dynamics determine the intent. Lust and fear drive the cause.
Language found in his dialogue with the muse is one of fawning, making direct his expectations, hoping to benefit and achieve a desired effect. Level of behavior revolves around a touch and go philosophy. The artist can never get all that he desires. The muse holds back enough to maintain her own existence. Once the relationship manages a current and concurrent ideal, both the artist and muse know their roles.
Bettina May, Las Vegas-based burlesque performer, model, photographer and vintage stylist.
A business setting operates on a devised platform where principally the employee is chosen based on his or her various orders of professionalism and credit to required official expectations. As made clear by the employer whatever is expected of the employee is to be met with absolute clarity and dedication. Objectivity makes for necessary coordinated symmetry, major factor which encourages a balanced rhythm, an imagined logic that keeps all parties involved operating at a tremendous level. Business acumen therefore weighs on how employee meets demand of the job, whether he or she and the employer manage consistency keeping with profit and longevity.
As with the artist and muse, gender ramifications are basis for operating. There is no bias involved in the hiring of a person. Discrimination against any particular gender, race or sexual orientation is totally prohibited. Content for asserting progress and workmanship between the artist and muse is trust. The two entities enter the field of work with promise. Viewed as duty it can be free of nonsensical sexual retribution, although language under which the artist and muse operate can involve romantic interplay. Any form of punishment in the working place is against the law. Whereas regard for courtship is an element within artist and muse working relationship, sexual harassment as practice from employer to employee or among employees has criminal bearings. Not all artist and muse relationships involve politics on love and eroticism.
Order for working business relationship with the artist and muse as reference formally explores the atypically platonic circumstance. However keen on genderisms, both working business and art relationships and otherwise should involve a sense of humanism. The person operating on maturity and experience must confide in his employee as someone upholding a sense of will but with a breaking point. Having empathy for and managing a respectable coexistence goes a long way.
Company like a department store or any other means of employment where most employees work and collect a check, there isn’t that expected need for simpatico. Factory settings however function on order for synchronicity, that sing-song pattern whereby everything happens within a natural flow.
Asserting our gendered roles for benefit of a scheme, program or plan, we must respect the partnering gender opposite free from judgment. Centering one’s intent as means of procuring a goal must be practical. Setting standards allows all parties involved a chance to work in accordance with the original plan. These unwritten rules are forms whereby humanizing each other’s role separate the rational of the id-oriented, psycho-analyzing of how the respected gender should behave. Supposing dominance of the male ego or as much as a female in question may exhibit an advantage in prowess, one must approach each person and circumstance differently.
Persona and performance are subjective interpretations that highlight how each person has amounted status and experience. Much of this presents itself when a person is put under test. How he or she reacts supposes a predilection. There are many ideologies and stereotypes pertaining to each characteristic, psychology of which is match for confrontations or the all too unavoidable test of emotion. Acquiring a type, discipline or behavior made relevant as an example for the betterment towards the projected accomplishment and hence success goes far back than one expects.
Contentment we bring to a project matches over confidence we may have exhibited in other situations as professionals. Most importantly these are evidences far-reaching back into our experiences as student. One’s persona is an amalgamation of the parent – father/mother overbearance and need for instituting a probability and distinction in their children. The child spends a life trying to live up to acceptance of the parent’s trust and faith. Whatever exercising and exorcising of life, love and death metaphors as experienced within context of people in the outside world sets a trend in who and what a person becomes.
How social media feeds into this remarks on parental upbringing of the so-called “spoiled child”. One would be alarmed to recall “white entitlement” or its trickle effect into a black relevance. The social media persona is of someone who warrants a need for not so much respect but rather adoration, the artist to muse fawning. Further inspection would suggest love hysteria has been perversely channeled to include the street idiom of “kissing one’s ass”. The artist and muse practice of mirroring goes on with frequency in social media. Idea of Facebook is propping up profiles and images pitted against each other. Will to “like” a post maintains the idolizing format, subtly indicated which keeps up the rhythm of behavior in social media.
Persona therefore principally determines one’s acceptance and rejection. More incalculable self-authority expressed inspires a “trending” and “following” of posts, images and accounts. The person who exists outside of the virtual world can easily be encouraged and made hyper-desirable as a social media muse. The manipulated effect happens overtime, continuously changing dynamics of who the person is as a thought or concept, then evaluated with his or her continuous exchange with the public. Origin of posts, tweets, thread conversation and status updates determine this.
Workability hereby interpreted as a union of gendered male and female employees attempting an undertaking for profit has to be free of misguided egos, certainly no gender mansizing and its female equivalent.
Fraternizing has easily caused great qualm in the projected success of an organization, what overtime creates distance and opinionated views on dominance, power and the marginalized. Adjoining entities that promote visions made to accentuate pride of a governing race or gender is the ongoing need for diversity in the entertainment world.
As Claire Zillman reported for Fortune, actress Jessica Chastain earlier this year at Cannes championed role of women in Hollywood, speaking about the entertainment industry's wage gap and her very own efforts to achieve equal pay with her male counterparts.
Bettina May, Las Vegas-based burlesque performer, model, photographer and vintage stylist.
The star of films such as Zero Dark Thirty and Miss Sloane as a jury member of the 2017 Cannes Film Festival spoke candidly at a press conference about the "quite disturbing" way women were portrayed in the movies she had seen at the annual event in France.
"I watched 20 films in 10 days—and I love movies—and the one thing I really took away from this experience is how the world views women. From the female characters that I saw represented, it was quite disturbing, to be honest," Chastain said.
She renewed a call for "more female storytellers," which she felt could lead to female characters that reflect the women she is used to seeing in her daily life—"ones that are proactive, have their own agencies, don’t just react to the men around them; they have their own point of view."
Interestingly enough the jury at Cannes awarded the award for best director to Sofia Coppola for her remake of the Clint Eastwood film The Beguiled.
Coppola is just the second woman to win the prize in the festival's 70-year history.
In her acceptance speech read on her behalf, Coppola thanked female director, Jane Campion, for being “a role model and supporting women filmmakers.” Campion to this date is the only woman to have won the festival's coveted Palme d'Or award, the highest honor at the Cannes’ Festival.
Want and need for accountability regarding more positive female roles must be looked at not from the view point of more female directors and filmmakers in the Hollywood movie making process, rather better filmmakers both male and female.
Kathryn Bigelow’s directed film, Detroit, a period crime drama written by Mark Boal about an incident at a motel during a street riot in Detroit in 1967 is an example of a Hollywood film directed by a female director with intent on making and producing a good to great film.
Ava DuVernay who catapulted to fame with her movie, Selma, continues to pave the way as Documentarian, Screenwriter and Director.
What has to be recognized is credit to good film making. With great directors, proper films will be made, therefore prescribing potentially appropriate roles for actors, whether male or female.
A success story like Quentin Tarantino opened the eyes and minds of Heads of film studios. There’s always a search for the next great thing. Unfortunately that idea has been shelved for the prospects of the next big block buster film.
The questions raised now comment on importance of film schools, talent of the screenwriter, purchasing of good film scripts, distribution of films, current popularity of what once were groundbreaking independent films and so many topics concerning where we are with producers of films, the new ground for talent on television and if the current social media scene helps or hurts the creative process.
The artist was once dangerous in his creatively maddening spirit, Toulouse Lautrec, Salvador Dali. Rauschenberg and Alex Katz of the 70’s presented the world with an appeasement of talent and hunger in the artist.
Certainly Warhol changed the whole spectrum, defined and redefined what it meant and currently means to be an artist.
The movie show is lived sensationally in the minds of people online. Any of them have their favorite films they have loved for years, once when movies permeated our conscience and prioritized how we lived our lives.
The movie experience continues to be a break from the hardship of life. A lot of time now is spent suspended on the trivialities of social media activities.
Seemingly what we once did and who we once were are transformed as an online metamorphosing process.
In the moment and in the spirit and with every turn we change, the relationship between the artist and the muse as the last great romance, their dead selves possessing people to art – the pretentious ability to attract attention with talent.
What talent is, who the artist represents himself or herself as, how they are rewarded will always be an ongoing mystery.
Saturday, June 10, 2017
The Virtual Kingdom: Human Branding in the Selfie Age
By Kofi Forson
As with the defining of a subject - forming of base, support, gravity, one begins from the beginning. I hereby reference songs by R.E.M., Feeling Gravity's Pull and Begin the Begin.
In Feeling Gravity’s Pull there’s a naturalizing of vision, an almost artist-shock of light. Gravity in essence is the substantive force that pulls us around.
“Read the scene where gravity is pulling me around. Peel back the mountains peel back the sky. Stomp gravity into the floor. It's a Man Ray kind of sky. Let me show you what I can do with it. Time and distance are out of place here”.
Begin the Begin on the other hand is a sentient entry into fortuitousness. There’s a giving and understandable merit for power and control.
“Let's begin again, begin the begin. Let's begin again like Martin Luther Zen. The mythology begins the begin. Answer me a question I can't itemize. I can't think clear, you look to me for reason. It's not there, I can't even rhyme here in the begin.”
In it all is the assertion of existence, merry and frivolous act of articulating and fussing with light, however intellectual or envisioned. It’s a combination mixing and matching of thought, double-downing on pre-eminence, ego and id.
There’s never a rhythm to the social media dance. People go there to flex their muscles, disclose a plan they may have botched in real life.
Authority is self-willed and in doing so definition of persona / personae is magnified based on how far one is willing to go. Body-sizing of appeal and attraction becomes counter-effective when there are no “likes” or “shares” of an image or post. This “love me” or “leave me” culture is less romantic as it is an attempt at celebrity on a smaller scale.
The self-purported instant sensation is governor and governess. Our brand is by deception showcasing brilliance, separating us from party speeches, bland attempts at entertainment.
The selfie was introduced to popular culture with use of I-phone or Smart phone as a way of chronicling spontaneous events without the officiality of actually taking a picture. This was manipulated much like the go-pro camera. Both items accentuated the knack and fun for adventurism. With productivity of I-phones and smart phones as replacement for professional cameras, what the Nikon, Point and Shoot prescribed, people were able to treat taking pictures as a fun activity. Social media was then a place where people posted and shared these images.
In the late seventies, Cindy Sherman unveiled her film stills, a series of black and white self-portraits which featured the American photographer in various circumstances taken from her poses and situating of her body as subject for detailing certain narratives and associations.
Petula Girndt - German Photographer
Given the stylized nature of this artistic venture it set a premise for something that had been earlier prioritized by such photographers as Lee Miller, an adventurist who captured her very own image on her many travels.
Modernistically, the works of Robert Mapplethorpe and Nan Goldin explored the extremes and edge of habit and emotional and physical violence. The images of Goldin as an abused woman and Mapplethorpe pushing the boundaries of sadomasochistic behavior are more far-reaching than the narcissistic and self-obsessed selfies paraded through social media.
The selfie should and can illustrate a series of emotions experienced during a period and time in the living experience. One such artist on Facebook takes selfies while in the studio. These images are timeless and are less the artist drawing attention to herself as they are portraits of a lifestyle. Another, an avid cyclist and fashion blogger takes selfies while on the road or experimenting with a variety of looks for her blog.
Julia Kristin - Cyclist and Fashion Blogger
In other words the selfie can be a way of articulating to the general public one’s persona and level of expertise and experience. Understandably at a party setting with drinks involved there are those who engage in the activity of senselessly taking pictures.
However expressive, selfies should become a way of communicating to the world and less a means of showmanship and orgiastic behavior.
Petula Girndt - German Photographer
If given a controlled and thematic approach we become celebrity. We are known for the definite thing that defines us, our glory and our stardom.
See it as talent needing exploration – what tweets eventually suppose, continuous thread of thought, however thrilling or furthering philosophy.
In the image concept, what we see bends on beauty and aesthetics. Image the self as an object of fancy. Make that an association which commercially keeps conduct and reiteration a constant imprint on the sight and senses.
Portrayal of subject intrinsic to our interests deepens frequency with which followers gallivant on social media Timelines. Attraction then revolves around replacement for the non-sex, non-drug craving.
That then is what rock and roll is! What is hip-hop! What is journalism! What is Goth! – Language is balance through which we make our selves known. Musicality is symmetry, order, vision.
The often and frequent need to post is a drive, the pull from a sex drive, manic proposal for immediate gratification.
In this dystopic orgy one must be self-rendered and manage togetherness with the human manager within the virtual. The person that is in isolation must become self-made.
None of what pours from the mind, heart and body should be taken for granted. Need for fulfillment no matter how necessary or belittling should be approached as if a show of magic, trick, thought.
What we are in the virtual are entertainers. In the giving off of self-display people are watching. The patented voyeurism is the fascination.
We are show-offs! We are psycho-superior! – Once we make this non-sex, non-drug party our very own means of disillusionment, we draw from each other the very disjointed energies which fall prey to an unimagined blood-sucking.
As an absolute must one should curtail the offense of being offended unless having undergone bullying or shaming. We are all non-nominative. We approach from the bizarre, our selves undefined.
What has to happen is the making and accentuating of I, Me, My prioritization. Branding of the human within the virtual begins much like puzzle. Our dispersive selves are throwaways we proportion in the virtual. Make this the delivery from non-conclusiveness.
The programmed and orchestrated plan is when someone moves within and without. Making of the threat, who and what you profess to be or want to be is designed not to fail. Once present in the virtual you are success. Key then becomes maintaining system with which we promote cadence, similarities and differences. Symbiosis is almost necessary to attract more followers.
What dimensions then does the virtual present? If perfected we are dealing with the highest representations of ourselves - customizing of the body as ghost in the otherness of what the body projects in physicality and spirit, represented as life encompassing, never-ending.
The cult of it is that we are masterminding a presentation. The act of venturing into nothingness, hoping to resonate and connect is in itself ridicule, as if blinded, forced to imagine the concept of the human as ghost.
In this circumstance we are presented with the profile picture or the thing that gives insight to the total form, unifying of all that we represent, symbolize, signify. Be it a cup with the world "love", cartoon of rabbit with bow tie or the selfie, passport picture, the virtual stranger is in need and in search of connectedness.
Like the night at the Foie Gras dinner party, one is in hope for a conversation. In order to achieve this one looks for a likeness, be it ordered in uniformity, color or balance.
Such is the capacity in the virtual world - without it we are lost. The certainty of being lost in the real world is what attracts us to the virtual world. Many are then able to hide and suppose a persona different from the original idea of self. Circumstance of which trolling has become disease.
The identifiable person is the official you, either that or poseur. Look to be accountable for tweets, status updates. Sensibly all that is transported across virtual lines comes from a place within, an unimaginable substation of ideas.
Make this central to logic.
In the long term, psycho-serenity is untroubled or questioned because we are managing a system whereby our posts are either made impenetrable as forms of linguistic fervor or informative for a community, perhaps gossip to meet demands of the what, why and with whom.
Further investigation would lead one to come to conclusion that we are less of what we had hoped and intended to be. And now are trying out subrealities in a card game we never expect to lose because the ginning up of who we hope to be is only made pure with a post or another comment.
Proportionately our lives are concurred and optimized with subjectivity of the virtual and human. This then brings to mind the thought of where we have come to, now being controlled and handcuffed in this very world of the virtual, more importantly "social media".
Social media is standardized as place of escape, the zeitgeist making common tug and pull of society’s ills, inconclusive terrorizing and outpouring of information. However and seemingly illogic in its blueprint, many ideas are exchanged, lives are made new, relationships start, needs are met, temporarily or in life’s distance.
The human life supposition has always given way to a life lived in exclusivity. Fanaticism of subcultures was the original idea that begot social media. Somehow it was a way for like-minded people to cavort.
Rhiannon Stephanie - NYC Photographer and Artist
Present sense of what is social media is more so the enriching of a life suspended.
The futuristic sentiment whether of space exploration or patterning of international relations, adjoining of allies or interconnectivity of friendships continents apart was to broaden communication.
The Jazz Age presented us with this formality. The medium of the novel transported visionary ideas to people all over the world. In doing so, musical performers traveled to different countries to make presentations of their music.
This alone was the original model for what we know virtually as "sharing" - to have something of note and worth and want to allow for mass consumption.
Suddenness of something going viral!
Credit must be given to the human element of curiosity, the playwright's fancy for dialogue. What is shared between two or more parties makes for an event. And as in the virtual understanding, the world is listening.
How then have virtual relationships deviated from what we knew as Facebook Friends, MySpace Friends. Is this still a tribal inventiveness or has that come to pass and we are now dealing with a web of fast moving thoughts presented as status updates with very little care for the understanding of who these people are behind these profiles.
What the editor of a Press upon defining for the public what their submission policies are would always want to know whether they are dealing with a human or robot.
Have we not become robots now? Are we not androids?
Our personal and cultural histories determine who we are in the virtual. In the deepening race, gender, identity factors we base our advancement on principles of livelihood, focus on the physical and imagined. Given forays into the fantasy and sensationalized space within we emerge from stupor of conditioned and unconditioned manifestations. Principally we are triggered by associations and disassociations in the life cycle.
Self-discovery is made relevant as to who we are and what we know. No getting around physical make up and identity. What forms of articulation we express plays into our place of birth, schooling, education, family and friends. Heartening what is central to us can allow for a concrete understanding of where everything is being channeled.
The next level would then be what we are passionate about. The system-projection deliverance, theme for our role in virtual reality would then be overall the very thing we make radical - how we approach bargaining of what we share and how it is interpreted. Such mechanizing renders itself as who we are in the virtual world, what we are known for.
With hands represented as tools we learn how to solve a problem. The major query we should always keep in mind is, are we justified in serving our followers and how do we keep them following. There’s always tendency to deviate from the plan given fluctuations in the life process. A systemized approach when tweeting or giving a status update can propel frequency with which followers build interest. Retweeting normally provides solidity in keeping a customized flow.
The reason then for being on social media is a question we need ask ourselves. What do we hope to achieve? We encourage and manifest a thinking pattern once we reach a point of professionalism. Our role on social media can be kept purely for enjoyment. Managing an account which serves the community it targets or builds an outreach can benefit many parties involved.
Specified accounts in the academic, journalistic or art oriented realms are in keeping with a method. These then can be managed as organizations and not the rancor and vilification perpetrated by some isolated individuals. Majority of those who venture into the virtual world are there for hijinks. Manner and behavior then harp on hilarity and exaggeration.
Art subtext gives off the premise for collaboration. What we are entertaining is a form of art collaboration without the expediency of philosophical thought. Grammatically this is a wording without principle as in the emoji or acronym.
The supposition would then be we are comfortable with ourselves in social media. There are those who use it professionally to promote events. Given choice of social media account one can prioritize what they want to say or share. But we are comfortable with ourselves in social media. It has become the firing range. Seemingly the in-crowd has been invaded by the cultural mass that no one is special. It is true to form an anecdote - no one is special and the cultural mass rules. Our faux believability gives us a premise to continuously channel the god or diva within.
What is then the human presentation? How are we living our lives if not to report it back to the virtual - what has become "instagramming". Is life less important if not given a priority in social media?
Are the cameras always watching? Is this, the social media world, the human person circumventing death? Has this become our means of enlightenment?
Rhiannon Stephanie - NYC Photographer and Artist
What is then the trick that defines the virtual from the human quotient? Does one continue to believe that valuing a human connection is greater than the virtual assumption? What is human? What is virtual? Has social media become an "androidal" party?
First twenty years of any life is spent making mistakes. The next twenty affords us a chance to clarify and make solid our determination. As with the adventurous self the twentieth year is when a person forms and conditions a program furthering the intention and continuance in becoming someone expected. The prolonging of our intention brings about a call for higher education or acquiring a trade. Acknowledgement of what we already know allows for growth. We make this possible in concert with other participants by exchanging ideas, premise for what we know in the virtual.
Livability of the human dynamic in stereo has to assume relations within the virtual. Phenomena that we’re not here alone should provide us with conduct for organizing an effort to reach out. An ingrained courage and fierceness pushes us into the unknown. We are at once giving of ourselves, hoping to gain something in return. Such was the original intent. What is happening now is a virtual highway where thoughts crash and explode. Accordance with the identifiable persona either resonates as human or rhetoric.
The most important woman I have ever known I met in the virtual and we have yet to meet face to face. Humanizing of a virtual person takes on many challenges. It is sustainable with the various ways to communicate. Ours was a gradual committing of time and patience in discovery and learning about another person, about another place. The basis for wanting to know about another place on earth seen through communication with a person in the virtual is outrightly futuristic. Understandably she and I were of the mindset that we were both intellectually curious. The supposition for our exchange was then certified in her knowingness and wanting to share. Importance was then suggested in how I was to perceive this as a growing and learning circumstance.
When confronted with availability and presence of a person incredibly eloquent and more advanced in their existence, credit should be given. We then should take a chance, be willing to participate knowing both roles are interchangeable. What I walked away with in our projects online, continuous dialogue and preoccupation with language was a carry-over of my interest in the muse, aestheticizing of beauty. That relevance was present in all that we achieved as a glorified philosophical interconnectivity. An example I failed to reach in all my years at university. The virtual supposition allowing for a reality sensed and felt in all the entreaties of acquired tastes of intellectualism, power positioning, rules and conduct and the lauding of a person’s worth however impressionable, transparent.
Artness and made-to-feel-pretty personifying of the human animal lends a lot of itself to the virtual. Having encouraged a professional and personal relationship with a woman I have known for thirteen years and we never sat face to face ever and this to this date is the most gratifying relationship ever - because it affected my language and with most artists that is sacred.
Language is sacred.
Preoccupation with how thinking originates from nothingness can mold a conscience into welcoming other mindsets in the hallowed virtual world. These become interventions, mild and polite intrusions on the mundane. They can be achieved with a feeling for respect and trust becoming more or less intimate moments shared with followers, messaging, tweets or Skype conversations.
In the real and human redirect, we promote maturity. Constant growth rendered in the physical body feeling, interpreting and collaborating is essential for sustenance.
The body electric is built on love and intellect. Of the utmost importance we need to accelerate the learning potential, something achieved in the here and now. Each moment we gain momentum if and when we pay attention to circumstance and uniformity.
Love and intellect perfects us, that which drives us from fear, the very thing we confront in the real and virtual.
An astute observation would then be how we have come far from torture and trauma. We as humans have survived interrogation of what it means to exist mortally and conscionably.
Love and death is our entry into the future. We die to live. And in death we see into another world.
The virtual is our minds and bodies disengaged. This psycho-circus is made up of ghosts in transition.
It is at once our intellectual selves misbehaving or coordinating a thread conversation. There are no boundaries.
Once we log on we fall in line. We leave behind the stressors and in posting and tweeting something magical happens. The human person acquires light, takes a bold step into the future.
We are made divisible as human creatures. As mortal beings we long for acceptance. Within the virtual world we challenge our fate. We become less mortal. Our half-lives positioned like portraits.
In this we see ourselves as important, represented, governed and governing.
Friday, April 21, 2017
Art Hot - Possessive Self versus Art Truancy
Selfie is the selfless self seeking attention.
Painting in museum or gallery is product of the artist once possessed. The possessive self needs order. Practice and need for perfection is the constant resolve with which he makes art.
The art truant self-prompts for attention, wills the persona more than talent.
Graffiti artist is the example of someone who is driven by angst. This drive is actionable, less neurotic more activist.
The selfie is done aimlessly without conclusion. To make art of the selfie is a dare.
Compromise between the self-possessed artist, one who scribbles or illustrates on napkin and the circumvent selfie promoter has a resolution rooted in query of what is art?
Art hot amplifies subjectivity of its value. 60's culture saw rebellion from representational art detailed in the Kosuth collaborative culture.
Cubism and Abstract Expression can then be seen as the artist changing the dynamic. Contribution to this would then be what is expected of the artist.
Does he meet that glowing and glorifiable dare from within to manifest? How then does he gain credibility as artist? Does he fit the mode or become the squared peg attracting the circle?
Voluminously art encompasses all that is creative. Supposed interpretation of art is made relative to fine art, more so the framed painting or drawing. Officiality placed upon it would then be it's merit in a gallery, museum or auction setting.
I'm more so inspired to determine mindset of the artist in his or her persona, cult of this - That Dali was mad is controversy. Picasso was just as mad.
It is the conscience which prescribes who and what is art. The product is by parlance a given.
Pecuniary understanding of art as business has corporatized all that is made definitive of talent, conscience and power.
In today's art world Picasso would be the ridicule.
One who transcends the "art boy genius" and on a grander scale the art warriors, neck breakers and art lords who have survived various movements see into its successes.
I for one have seen one too many Gerhard Richter's to know what drives the art messianic.
What is Hot ? ~ !
Beauty tantamount with intellect optimally is sign of prescience. There is however no understanding of Athena and Aphrodite represented in the singular female. Assumption of this carries with it relevance to flawed nature within the human person.
The female body naked is eternal - Mothering potential makes for newness as in birth, death of which furthers and completes the life circumstance.
Female body naked herein makes for pull of attraction in the human male.
If one is ever to determine what is hot, sex, the act and preoccupation surrounding it defines any and all understanding of heat, both physical and virtual.
Modernity and technology singularly bring about preservation of what is youthful; an interpretation governed by marketing and promoting the ingenue as product.
Commerciality however predetermines what demographic best responds to a given cycle. Much of this falls on the balance of race and gender.
The young white male and female are celebrated separately from how the black boy or girl meet acceptance . Youth in the white person condescendingly holds superiority.
The black person's athleticism and naturalizing of "black beauty" in the redirect is accentuated. This is the dastardly mark of racism.
Afro-futurism, Black Hollywood, Hip Hop culture and continuance to maintain what in history has been a black renaissance is the task at hand going forward.
Otherwise the term "white-hot-heat" will forever mean all that is beautiful, white, blond and blue-eyed.
How to Tell You are in a Porno
Walk Away Renee is a song that moves me. There's passion in the vocals. How the song begins from the very few lines to the chorus. That is the wait to get to the chorus.
To forego foreplay - The memory of this would then be the rush to have an orgasm. Even then there's pleasure in the moment. The intro to a song. Pleasure you experience waiting to get to the chorus. Listening to the song, having had the experience.
The porno is ready-made sex action you relive. It's not an event rather cause for guilt. It's not happening if you watch in inertia. As prompt it propels the sex act.
Subjectivity of perversion and pervertedness would suggest what porno is for. The pervert finds himself watching alone, performing on himself. Perversion brings about acute malady whereby a person detects porno in the strangest circumstances.
(This is how and when you can tell you are in a porno - )
One must always be in tune with the body. Be able to know at all times functionality in how it operates, it's meta possibilities, psycho associations, emotional, physical, sexual... (psychical).
If nude we are the excuses we bare, how innocence begets experience, nuance of rhythm, motion, abject condition of skin, girth, endowment. In clothes we are what we represent, quality of which refers to aesthetic and style.
The scenario is always a fall from grace - What is normal and what isn't. Sex is normal, Rape is the curse. Then there's music. In every moment is a melody detectable only as the mood is accentuated. It is not in the actual hearing of music, rather what is intimated within circumstance.
The body is present at all times, a call to which certifies who we are, where we are. What it attracts, who engages it, brings about confluence. Compatibility would then suggest the stereo-izing of love. If all is common and falls into place, human interconnectivity allows for eloquence, charm, fellowship.
What then herein is an element of porno? Porno is situational willing of the body to communicate with whomever, which ever way possible, however and with what means this is accomplished.
The sadist and masochist are always at war. Understandably cause for action is pleasure. The body demands all that there is in the moment but with reason. Everything and those involved are marked as objects. It's a game within a game. Each move determines a point / counterpoint. As with chaos and order what begins as concept finds a way into infinity. Much happens before anything would suppose victory, derivative of the orgasm.
In situational porno a conversation begins, such as a riff introducing a jazz composition. Whatever choreography is imagined occurs based on dynamic of person, place, thing, determined as synchronicity. Music can be found here, the moment when bodies collide psychically. Tone and textures accentuate order of this, speaking without saying a word. Speaking as means to an end. One would expect time experienced in the moment to be pornographic, the very reason it is definable as porno.
If porno is perceived as sex action it must include a form of lovemaking. The bodies may be at war but the fight is managed virtually as fantasy. The porno exists as vision, ability, sense and perception.
What sex can be found here is initiated as prompt. As with porno the moment begins with narrative, circumstance. How bodies interact brought about by mood. The music in the ear...!
If not then virtual rape plays itself up within minds of the plenty. The many fantasies that go unsatisfied.
Is that porno? To play pretend sex action? Porno is damage and with cult fascination those who play it play to win.
Amour Malade - Dispositions/Black/White/Death
In poster for Mike Figgis' The Loss of Sexual Innocence there's an image of a young black and white couple as Adam and Eve. The black male equivalent as Adam, white female respectively as Eve.
The interracial relevance qualifies what we are subjected to from this very Biblical reference as torture, beginning of the end, where from we fall.
Depiction of black male and white female given suppositions of sex immediately awakens anger and arousal. This distinct torment brought about by theme of racial divide in history, further in our ongoing status and current political climate, reveals evolution of black male libido, circumstance with which it has answered the call of "white fang", white ass, white lust.
The white female thereby readdresses the magnitude of her interest in the black male as physical specimen, sexual dynamo. Having reached conclusion over time through slavery, The Jazz Age, Civil Rights Movement, Blaxploitation, Neo-Expressionism, Hip-Hop, one would be curious to think in face of white nationalism and the white female's role in the recent election what determines temperament between the white female and black male within sexual politics.
These times are far from and yet not too far from Todd Solondz's film Storytelling where a black character tells his white female counterpart to yell "Ni**er, fuck me hard". Black/White sexual stereotyping will always include the forbidden fruit, that very thing society speaks against yet is alluring.
Post-post modernism and its dimensions of genderism, racism and magnitude of trolling, rape culture, sexual neologism and fascination with internet porn has brought new perspective to what the black male, especially the young thoroughbred fantasizes or seeks in copulation with the white female.
Suggestions for this can be ascertained in post gangsta and neo-soul culture. The new hip hop star is moneyed and at liberty to score in more ways than those of another generation. There's a hyper-awareness in what the young black male finds appealing in the white female.
It can be said there has been a pop-popularizing of the sex ethic post crack cocaine epidemic, AIDS, the "down low", mass incarceration, crime, the police, sensationalized killings, LGBTQ, BLM. Supposition of the black male's extinction accentuates how he is marginalized therefore encourages empathy from certain white women, a case relevant all though history.
In what can be imagined as the hyper-real black male descendant of Jazz, Native Tongue Movement, Spoken Word, Neo-Soul, James Baldwin and Jean-Michel Basquiat, he has been witness to subcultures of punk and art, surmised what he wants from the white American female and the European woman.
He is now at a point where he reinvents the black politik, Afro-futurist, Activist, Neo-Liberal, Black Nationalist. His means of survival is underdressing aesthetic of the white female. He imagines potential of black hyper-femininity, reinterprets aesthetics of beauty. Love, sex and romance take on prospects of business and politics.
His role as universal pimp, player acquires a renewed circumstance. Having come up from death, love as disease, he reexamines meaning of love, to have and have not, sin and be saved, play dog or refrain from point / counterpoint -
Become an example, a cure, solution.
Dans L'Erotique, Le Corps est Electrique -
James Dean did not die. Marilyn Monroe is the weather. An ashen grey metallic Porsche becomes one with the night.
Dynamism of the body in heat is a result of systems aligned. In the erotic the body is electric. What moves...? It's an order by design an accumulation of thought, mass propensity, the urge, if masculine circulates with will to pounce, the feminine fluctuates within permanent ecstasy.
The youthful never die. They resist. This process has underpinnings of the original idea - the fight is between the inner at war with the outer, what is however translated or transcribed becomes art. The result is not art. It is more the interpretation.
Two bodies making love, conceptually understood, therefore meets the intent of beginning, middle, end. However, indeterminably relevance of two people in the act would suggest imperfection. The encounter meets hunger, desperation.
That it is an edit bordering love, trust, we reimagine it as an eternal placement. Of flesh much can be disputed as to what is beautiful, sexy and erotic. The body is beautiful. The skin ages much as the body and person in question gain experience with time.
In stereo. In HD the body naked completes itself. Notion of two people with perfect bodies making love promotes health fascination, more so perpetual eroticism. One would surmise the same for two people in love or that of two experienced lovers.
Why then would the mature lover seek the eternal in a much younger lover? How does this border lust? Is lust not the very idea?
Therein lies decay. What purports the nuance of death. The body meeting its end.
Is fornication therefore an exercise of dismissiveness. Is it a means to an end?
The hyperreal circumstance suggests the other body, the self as spirit, constant, consistent. If love is felt, entertained in the imaginative, there is potential regularity with which one could exist in the fantasy of love. If and when the body becomes enraptured in continuous circumstance of the erotic, the supposed person can, would and does circumvent what we know as love.
He or she falls in love, makes love much as all is valued in breath.