The Journal of Ecosex Research Issue 1: Vo1. 1, Issue 1
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Distance and Empathy: Constructing the Spectator of Annie Sprinkle's Post-POST PORN MODERNIST—Still in Search of the Ultimate Sexual Experience
Spring 1993 177 Distance and Empathy: Constructing the Spectator of Annie Sprinkle's Post-POST PORN MODERNIST—Still in Search of the Ultimate Sexual Experience Angelika Czekay Today, after seventeen years in the porn industry, ex-sex worker Annie Sprinkle is a performance artist. In her recent performance piece "Post-Post Porn Modernist Still in Search of the Ultimate Sexual Experience," Sprinkle talks about her life as a former porn star and ex-prostitute. The show's topic is sex, which Sprinkle "understands as her hobby, politics, spiritual experience, expertise, main subject matter . and the key to her great health and happiness" (Program note, Theatre Oobleck, October 1991). The performance is visually graphic: Sprinkle urinates and douches on stages, invites the spectator to look at her cervix, performs a "bosom ballet," and introduces sex toys for the fulfillment of various sexual desires. In a series of loosely linked segments, her narration moves through the different stages in her life and reveals its changes, both in job and attitude. To complement her stories, Sprinkle uses sets of slides; for instance, the "pornstistics" [sic], showing an image of the Empire State Building as a demonstration of the length of all the penises she "sucked," or a diagram that reveals in percentages her reasons for becoming a sex worker. I had the opportunity to see Sprinkle's performance piece on two separate occasions and in two different cultural contexts in 1991, once in Berlin in July and once in Chicago in October. Although the performance had basically remained the same, my reactions were almost directly opposite. -
1 the Erotic Ronald De Sousa and Arina Pismenny [Penultimate
The Erotic Ronald de Sousa and Arina Pismenny [Penultimate version of chapter (in English) in J. Deonna and E. Tieffenbach (ed.) A Small Treatise on Values (Petit Traité des Valeurs). Paris: Editions d’Ithaque. Consult published version to quote.] Nowadays, the erotic is everywhere: the term is applied to works of art, advertising, clothing, gestures, and many other things. It is not, however, always used appropriately. The erotic, for example, is sometimes confused with what triggers sexual arousal. Causing sexual arousal is not sufficient, however, because direct stimulation, by genital friction or brain probe, would not plausibly be called erotic. Neither is it necessary: for just as one may understand why something is funny without being moved to laughter, so one might perceive that something is erotic without experiencing any arousal. What, then, is the erotic, and in what sense can one say that it is a value? The erotic, value, and teleology Is the erotic a value? Or does it have value? If something is a value, its presence can confer some degree of importance on other things. If it has a value, then its benefits derive ultimately from some characteristic which itself has intrinsic value. What nobody cares or could care about is necessarily devoid of it; thus, in order to understand the erotic as a value, we must understand to what states of mind and to what mechanism it is linked, as well as how we care about it and for what reason. Although the erotic cannot be identified with either arousal or desire, the three are evidently linked. -
Is the Otis 2009 Donghia Designer-In-Residence in the Architecture/Landscape/Interiors Department
MEDIA RELEASE Ed Ruscha, Every Building on the Sunset Strip, 1966 FOR IMMEDIATE RELEASE: NOVEMBER, 2013 Press Contact: Kathy MacPherson / [email protected] / (310) 665.6909 Binding Desire: Unfolding Artists Books, an exhibition at Otis College of Art and Design’s Ben Maltz Gallery, displays important works from the Otis Artists Book collection, one of the largest in Southern California. LOS ANGELES, CA – October, 2013 – The Ben Maltz Gallery is proud to announce the upcoming exhibition, Binding Desire: Unfolding Artists Books, on view from January 25 – March 30, 2014. Binding Desire: Unfolding Artists Books is a group exhibition featuring approximately 120 works from OTIS Millard Sheets Library’s Special Collection of 2,100 artists books dating from the 1960s to the present. The Otis Artists’ Book Collection is one of the largest in Southern California. It houses a wide range of works representing every genre of artists books by such luminaries as Vito Acconci, Joseph Beuys, and Ed Ruscha, as well as significant works from major centers of production like Beau Geste Press, Paradise Press, Printed Matter, Red Fox Press, and Woman‘s Studio Workshop. A foundational strength of the collection is its holdings of artists books made in the 1960s and 1970s—a time when this material was often not collected by libraries because so much of it was hard to define, catalog and house. The exhibition also includes a reading room showcasing new work produced by OTIS students in the Fall 2013 semester. Work by: Kim Abeles, Sally Alatalo, Ant Farm, Emily -
When Self-Pleasuring Becomes Self-Destruction: Autoerotic Asphyxiation Paraphilia Andrew P
When Self-Pleasuring Becomes Self-Destruction: Autoerotic Asphyxiation Paraphilia Andrew P. Jenkins, Ph.D., CHES, EMT1 1Associate Professor, Health Education, Central Washington University Corresponding author: Andrew P. Jenkins, Associate Professor, Health Education Programs, Central Washington University, Ellensburg, WA 98926, phone: 503.963.1041; email: [email protected] Abstract Autoerotic asphyxia is presented in literature review form. Etiology, prevalence statistics, and a profile of AEA participants is provided. The author identifies autoerotic asphyxia as a form of sub-intentional suicide. Warning signs of AEA are presented. Possible sources of mis-information are given. Prevention and education recommendations for administrators, faculty, and parents are provided. A suggested reading list is provided. A part time computer programmer and full- many of the common primary components of time mother comes home from the office early autoerotic asphyxia cases. on Friday afternoon to share a video and a The purpose of this article is to provide the reader pizza with her 15 year old son, Lance. His with information regarding this dangerous behavior bedroom seems unusually quiet on this and to provide a framework in which to place it in the afternoon. Absent is the din of his favorite context of adolescent sexuality, suicide, and education. Smashing Pumpkins CD. She saunters down The literature in this area is somewhat limited with the hallway while calling his name, pushes virtually no articles appearing in the health and open his bedroom door and then collapses on education journals directed at prevention of this the floor in a flood of emotions launched by behavior. This paper provides an objective overview a graphic scene displayed in the room before of the behavior, the typical practitioner, a list of her. -
Law, Art, and the Killing Jar
Digital Commons @ Touro Law Center Scholarly Works Faculty Scholarship 1993 Law, Art, And The Killing Jar Louise Harmon Touro Law Center, [email protected] Follow this and additional works at: https://digitalcommons.tourolaw.edu/scholarlyworks Part of the Entertainment, Arts, and Sports Law Commons, and the Other Law Commons Recommended Citation 79 Iowa L. Rev. 367 (1993) This Article is brought to you for free and open access by the Faculty Scholarship at Digital Commons @ Touro Law Center. It has been accepted for inclusion in Scholarly Works by an authorized administrator of Digital Commons @ Touro Law Center. For more information, please contact [email protected]. Law, Art, and the Killing Jart Louise Harnon* Most people think of the law as serious business: the business of keeping the peace, protecting property, regulating commerce, allocating risks, and creating families.' The principal movers and shakers of the law work from dawn to dusk, although they often have agents who work at night. 2 Their business is about the outer world and how we treat each other during the day. Sometimes the law worries about our inner life when determining whether a contract was made5 or what might have prompted a murder,4 but usually the emphasis in the law is on our external conduct and how we wheel and deal with each other. The law turns away from the self; it does not engage in the business of introspection or revelation. t©1994 Louise Harmon *Professor of Law, Jacob D. Fuchsberg Law Center, Touro College. Many thanks to Christine Vincent for her excellent research assistance and to Charles B. -
The Killing of Women in 'Sex Games Gone Wrong': an Analysis Of
1 THE KILLING OF WOMEN IN ‘SEX GAMES GONE WRONG’: AN ANALYSIS OF FEMICIDES IN GREAT BRITAIN 2000 – 2018 Professor Elizabeth Yardley Birmingham City University, UK [email protected] Department of Sociology and Criminology Business, Law and Social Sciences The Curzon Building 4 Cardigan Street Birmingham B4 7BD 0121 331 6612 / 07810 866 485 AUTHORS NOTE The author would like to thank Fiona Mackenzie of We Can’t Consent to This for her assistance in identifying cases and the anonymous reviewers for their thoughtful and helpful feedback on the manuscript. KEYWORDS Femicide; rough sex. 2 ABSTRACT This research investigated cases of femicide in Great Britain where perpetrators had claimed that victims died in 'sex games gone wrong'. Forty-three femicides that resulted in a conviction for murder, manslaughter or culpable homicide were examined in relation to victim-perpetrator socio-demographic characteristics, victim-perpetrator relationship, homicide details and criminal justice outcomes. Key patterns within the data were identified. The research highlights that the 'sex game gone wrong' narrative has gained traction against a cultural backdrop of normalised BDSM within neoliberal political economy. 1 INTRODUCTION In December 2016, John Broadhurst killed his girlfriend Natalie Connolly. Natalie’s body was found in the hallway of the home they shared in Worcestershire, England. Natalie had a blood alcohol level of 389 mg per 100 ml - five times the drink drive limit (R v Broadhurst). She had sustained over forty separate injuries, the majority of which had been caused by Broadhurst striking her with his hand and a boot and inserting a bottle of spray carpet cleaner – a large container with a trigger attachment - into her vagina (R v Broadhurst). -
Interview with Helen Meyer Harrison and Newton Harrison
Total Art Journal • Volume 1. No. 1 • Summer 2011 BETH AND ANNIE IN CONVERSATION, PART ONE: Interview with Helen Meyer Harrison and Newton Harrison Helen Meyer Harrison and Newton Harrison, The Lagoon Cycle, 1974-1984. Image Credit: The Harrison Studio Introduction by Elizabeth (Beth) Stephens Helen Meyer Harrison and Newton Harrison are two of the foremost artists practicing in the field of en- vironmental art today. I first met them in 2007 when they moved to Santa Cruz from San Diego where they were emeriti faculty from UC San Diego. In the early ‘70’s, they helped form UCSD’s Art Depart- ment into one of the most powerful centers for conceptual art in the country. They mentored artists such as Martha Rosler and Alan Sekula. Pauline Oliveros, Eleanor and David Antin, Alan Kaprow and Faith Ringgold were colleagues and together they formed a nurturing community for art and teaching. In addi- tion to their primary practice of environmental art, the Harrisons have also participated in a range of other historical and social movements, including the seminal west coast feminist art movement exemplified by works such as the 1972 installation Womanhouse. During that period they interacted with feminist artists and critics such as Arlene Raven, Miriam Shapiro, Judy Chicago and Suzanne Lacy. Even earlier, in 1962, Helen Harrison was the first New York coordinator for Women’s Strike for Peace. Newton Harrison Total Art Journal • Volume 1 No. 1 • Summer 2011 • http://www.totalartjournal.com served on the original board of directors of the Third World College, which Herbert Marcuse and Angela Davis initiated. -
(Heads Tails Xfiles).Pdf
jHeads & tails M.M. FaeFae GlasgowGlasgow Bene Dictum IV An X-Files Slash Zine Bene Dictum IV: Heads & Tails Bene Dictum IV: Heads & Tails an anthology of X-Files slash fiction is available from: 71,500 words OBLIQUE PUBLICATIONS editing and design by Caroline K. Carbis P.O. BOX 43784 TUCSON, AZ USA 85733-3784 email: [email protected] An age statement is required with all orders. Also available from Oblique Publications (Note: All publications are slash and require an age statement with each and every order.) Journey West WARNING: A Professionals slash novel THIS ANTHOLOGY CONTAINS SAME-SEX, By Maiden Wyoming ADULT-ORIENTED MATERIAL. IT WILL NOT BE SOLD TO ANYONE UNDER THE AGE OF the OBLAQUE series (Blake’s 7 slash) EIGHTEEN. Oblaque Oblaquer Oblaquest Oblaque IV: to be taken intravenously Oblaque V: in venery veritas Beginning 1999 Oblaque Sextus Oblique Publications’ library of zines will be available the BENT COPPERS series (Professionals slash) for free download in PDF format from its website. …As a £3 Note www.oblique-publications.net …As Two £3 Notes …As Three £3 Notes the PÆAN TO PRIAPUS series (multi-media and literary slash) Pæan to Priapus, volumes I, II, III, IV, V, VI the BENE DICTUM series (well put, well said, well dicked) Bene Dictum I: A Dickensian Christmas by M. FAE GLASGOW (Christmas themed Professionals stories) Bene Dictum II: Half ’n’ Half (Half Professionals/Half Blake’s 7) Bene Dictum III: Naughts & Crosses (Three Professionals novellas by Sebastian, Helen Raven, & M. Fae Glasgow) Bene Dictum IV: Heads & Tails is an amateur publication, copyright © February 1999 by Oblique Publications. -
Feminist Perspectives on Curating
Feminist perspectives on curating Book or Report Section Published Version Richter, D. (2016) Feminist perspectives on curating. In: Richter, D., Krasny, E. and Perry, L. (eds.) Curating in Feminist Thought. On-Curating, Zurich, pp. 64-76. ISBN 9781532873386 Available at http://centaur.reading.ac.uk/74722/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.on-curating.org/issue-29.html#.Wm8P9a5l-Uk Publisher: On-Curating All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ONN CURATING.org Issue 29 / May 2016 Notes on Curating, freely distributed, non-commercial Curating in Feminist Thought WWithith CContributionsontributions bbyy NNanneanne BBuurmanuurman LLauraaura CastagniniCastagnini SSusanneusanne ClausenClausen LLinaina DzuverovicDzuverovic VVictoriaictoria HorneHorne AAmeliamelia JJonesones EElkelke KKrasnyrasny KKirstenirsten LLloydloyd MMichaelaichaela MMeliánelián GGabrielleabrielle MMoseroser HHeikeeike MMunderunder LLaraara PPerryerry HHelenaelena RReckitteckitt MMauraaura RReillyeilly IIrenerene RevellRevell JJennyenny RichardsRichards DDorotheeorothee RichterRichter HHilaryilary RRobinsonobinson SStellatella RRolligollig JJulianeuliane SaupeSaupe SSigridigrid SSchadechade CCatherineatherine SSpencerpencer Szuper Gallery, I will survive, film still, single-channel video, 7:55 min. Contents 02 82 Editorial It’s Time for Action! Elke Krasny, Lara Perry, Dorothee Richter Heike Munder 05 91 Feminist Subjects versus Feminist Effects: Public Service Announcement: The Curating of Feminist Art On the Viewer’s Rolein Curatorial Production (or is it the Feminist Curating of Art?) Lara Perry Amelia Jones 96 22 Curatorial Materialism. -
List of Paraphilias
List of paraphilias Paraphilias are sexual interests in objects, situations, or individuals that are atypical. The American Psychiatric Association, in its Paraphilia Diagnostic and Statistical Manual, Fifth Edition (DSM), draws a Specialty Psychiatry distinction between paraphilias (which it describes as atypical sexual interests) and paraphilic disorders (which additionally require the experience of distress or impairment in functioning).[1][2] Some paraphilias have more than one term to describe them, and some terms overlap with others. Paraphilias without DSM codes listed come under DSM 302.9, "Paraphilia NOS (Not Otherwise Specified)". In his 2008 book on sexual pathologies, Anil Aggrawal compiled a list of 547 terms describing paraphilic sexual interests. He cautioned, however, that "not all these paraphilias have necessarily been seen in clinical setups. This may not be because they do not exist, but because they are so innocuous they are never brought to the notice of clinicians or dismissed by them. Like allergies, sexual arousal may occur from anything under the sun, including the sun."[3] Most of the following names for paraphilias, constructed in the nineteenth and especially twentieth centuries from Greek and Latin roots (see List of medical roots, suffixes and prefixes), are used in medical contexts only. Contents A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z Paraphilias A Paraphilia Focus of erotic interest Abasiophilia People with impaired mobility[4] Acrotomophilia -
Wgst 250: Women's Health Activism
Wgst 250: Women’s Health Activism Spring 2011 - T, Th 10:10-12:00pm – Leighton 330, Carleton College Instructor: Dr. Meera Sehgal Office Hours: Tuesday & Thursday: 5-6pm; Office: 222 Leighton Monday & Friday: 1:30-3:00pm & by appointment Phone: x4975 Description This course focuses on women’s health movements and feminist activism around reproductive justice in the U.S.. Our explorations will be linked to a Carleton art gallery exhibit titled EveryBody! that highlights the use of graphic teaching aids, polemical publications and artistic projects by women’s health movements to teach women to celebrate “embodied self-knowledge”. Thus, we'll be looking at, reflecting, practicing (to the extent possible) and reading about feminist political art in general and specifically in relation to women's health in the context of the 70s to the present. Our intellectual focus will be on the role of feminist activism in shifting the discourse around women’s health from medicalized pathology to empowerment. The course has a major civic engagement component that requires students to work with feminist non-profit organizations on campus or in and around Northfield or in the greater Twin Cities area in ways that: Ø contribute to the organization’s vision for social justice; Ø deepens your intellectual understanding of feminist health activism from 2000 to present; Ø enables you to situate the organization and its goals, mission, activities, style of functioning within the wider historical sweep of feminist health movements from the 1960s onwards. In line with the emphasis on visuality in the EveryBody art exhibit, students will be encouraged to develop creative visual approaches to feminist health education in the community through the non-profit they work with. -
University of Birmingham Dying for Sex
University of Birmingham Dying for Sex: Downing, Lisa DOI: 10.3898/NEWF:89/90.08.2016 License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Downing, L 2016, 'Dying for Sex: Cultural and Forensic Narratives of Autoerotic Death', New Formations, vol. 89/90, pp. 137-152. https://doi.org/10.3898/NEWF:89/90.08.2016 Link to publication on Research at Birmingham portal Publisher Rights Statement: When an article is accepted for publication through a journal’s peer review process, authors will be notified of acceptance by email, and at this point they will be able to deposit the pre-published version on their personal website, on their university department website or in their institution’s research repository. General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.