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50cm x 70cm 300gsm Fabriano paper
Edition of 15
Aerosol background with black screenprint
Released tomorrow at High Roller Society
Preview night 6-9pm
20 Palmers Road
Unit 10
London, E2 0SY
TRAVEL INFORMATION
Tube – Bethnal Green, Mile End
Bus – 8, D6
High Roller Society presents Press and Release, a group exhibition featuring 50+ street and contemporary artists from the UK, US and Europe, displaying a wide array of ancient and modern-day printmaking techniques. The exhibition, which runs from 12 June-24 July, will also feature a screen printing workshop and a linocutting demonstration (dates TBA).
In today's visual art world, objects, images, and ideas seem to materialize extremely quickly. No doubt influenced by a fast-paced modern lifestyle where high-speed internet, instant-messaging straight to your mobile phone, and linked social media sites have set new barometers for high expectancy and low patience levels. For art lovers and visual carnivores, mere blinking likely causes us to miss a lot of whats happening. On the other hand, life's current seems to have carried the artistic approach farther downstream, away from once-adopted creative virtues such as preparation, process, and absorption. To add to the artist's dilemma, there is yet another question of preference [or, rather, confusion]– craft, or speed? Exploration, or production?
As a peacemaker between these polarized forces, printmaking and its gamut of techniques, by nature, bridges the divide between laboured image-making and instant visual gratification. Originating in ancient Mesopotamia and China, intaglio and relief printing are still very much alive in the arts. Yet, modern-day capabilities have vastly widened the spectrum for artists interested in this medium. From etching and embossing, to monotyping and pochoir, printmaking offers a broad range of experimentation, with the added bonus of quick production and affordability.
Press and Release spans a mixture of age-old printing methods and those now available in our digitized world, where all 59 artists have used the process and limitations of printmaking to their advantage.
2 SICK BASTARDS, AIDA, ANN-CAROLINE BREIG, AVOID, AXEL VOID, BUSK, CEPT, CYCLOPS, DAVE THE CHIMP, DAVID O'SHAUGHNESSY, DINT WOOER, DORA, DSCREET, ECHO, FARO, FEFE TALAVERA, GOLD PEG, HAZE BURKE, HEADHOODS, HUGH MENDES, JAMES JESSOP, JAMES UNSWORTH, KID ACNE, LINOCUT BOY, LUDO, LUDVIG, MARCIN DUDEK, MARTIN LEA BROWN, MARTIN MCGINN, MARTYN PAYNE, MAT ECO, METRIK, MONKEY, MOTORBOY, MUDWIG, NYLON, PANIK, PARIS, PAUL GREEN, PAUL INSECT, PINKY, RICH T, ROWDY, RUN, RUSSELL MAURICE, RUTH CALLAND, SCOTT MINZY, SEMOR & CO, SHE ONE, SICKBOY, SNOE, STICKEE, SWEET TOOF, SYLVIA UGGA, TEK 33, TIKICHRIS, TOM ASHTON-BOOTH, WHOM, ZOOT
Mingle Media TV and our Red Carpet Report team were invited to cover the Celebrity Connected Honoring The Emmys Luxury Gifting Suite at the Great Room of the W Hotel Hollywood.
What Celebs Found at this Awesome Gift Suite
From Little Tipsy (spiked) Cakes to sweet potato apple chips by Seneca, Shut Your Pie Hole pie in a jar and the vegan and gluten free Yoga.urt were a good place to start but then we stopped at The Curious Creamery and we learned how to make our own ice cream without a machine needed. Then there was the Blast Ice Cream, LA's first liquid nitrogen ice cream mobile food truck, can you say instant gratification?
There were more gourmet food products from Corine's Cuisine with some amazing sauces and recipes. And of course you need some kitchen accessories to make those amazing recipes, right? There were green friendly vendors, from reusable food wraps by Nil, reusable cake and loaf liners by Unstick which we love. Mora Wines poured their Cabernet Franc and Valpo, and gifted hand painted bottles.
Wearable items made a statement: ‘I care about Fair Trade and the planet.’ The Casery had protective gear for the Iphone 7. Japanese designer Akiko Shinto had their retro-chic and modern Asian edge Vivon eyewear collection. Uashmama, had a line of cross body bags and home accessories made from high-grade paper that looks and wears like leather.
Jafra was there with their unforgettable royal jelly lipsticks, along with other wellness products like Theramu’s restorative cream and sublingual pain remedies to Haiku Organics’ soaps, DeP’s two-month face mask treatments (with reusable chic leopard print mask), Elyptol hand sanitizers, the UK’s PureSkin by Vanessa Blake, French company Bioderma, and Washdolly’s reusable make-up remover towels.
There were also natural products from social good Toronto-based the Pink House, founded by sisters Tracy Olesen and Karen Sjöberg. Sjöberg had been diagnosed with breast cancer and realized there was a need for simple but luxurious beauty products crafted without hazardous chemicals.
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About Celebrity Connected
Celebrity Connected helps create the best marketing strategy for your business by utilizing the power of celebrity to elevate the visibility and popularity of your brand. With a Celebrity Connected gifting lounge or gifting suite, attendees should expect an occasion where celebrities freely mingle with various brands, the spaces are large enough for elaborate displays, photographers and videographers capture a massive range of content, and about 50 brands from a variety of industries all around the world show their best. For more info please visit: www.celebrityconnected.net. www.facebook.com/celebrityconnected
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
www.facebook.com/minglemediatvnetwork
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
Sexual position vector icons. Sex positioning between man and woman couple pictograms. Position sexy couple love man and woman, sex partner illustration
Philip Roth - Portnoy's Complaint
Corgi Books, 1971
Cover Design uncredited
Portnoy's Complaint n. [after Alexander Portnoy (1933- )] A disorder in which strongly-felt ethical and altruistic impulses are perpetually warring with extreme sexual longings, often of a perverse nature. Spielvogel says: 'Acts of exhibitionism, voyeurism, fetishism, auto-eroticism and oral coitus are plentiful; as a consequence of the patient's "morality," however, neither fantasy nor act issues in genuine sexual gratification, but rather in overriding feelings of shame and the dread of retribution, particularly in the form of castration.' (Spielvogel, O. "The Puzzled Penis," Internationale Zeitschrift für Psychoanalyse, Vol. XXIV, p. 909.) It is believed by Spielvogel that many of the symptoms can be traced to the bonds obtaining in the mother-child relationship.
Foghorn Leghorn and Miss Prissy again with Bugs Bunny and Sylvester in the background.
PZ 680 Color Shade film. Voodoo Experience Music Festival at City Park in New Orleans.
SANTACON IS THIS SATURDAY!
get yr damned santa suits already.
drop a line if ya wanna meet up.
update: sign up for text messaging updates to find santas on the move at santacon.com/nyc/
santa's trophy wife, getting really drunk on spiced rum. i think i drank most of this bottle. it was just excessive. but of course, that's santacon.
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
About the Collage: All the pictures are the result of a fairly recent shoot.. Without parents we would live our lives in Black 'n White; With them around the different shades of grey add spice to which would otherwise have been - a rather mundane existence.. With their support we can sleep peacefully at nite knowing they have our back, in good times 'n bad; Our pillar of support.. even if age rusts them.. they keep us deeply embedded in their heart.. and last but not the least - come what may.. they have the onus of keeping the family together: at the same time giving every family member and 'unit' space, individuality and freedom of expression.. A daunting task that the superhuman parents execute to perfection !
AND hence We the children of the world Salute the Proud Parents of today 'n hope that the children - the parents-to-be of tomorrow prove themselves to be better than their folks, as they have the experienced quality parenting to begin with !
Your children need your presence more than your Presents.
By: Jesse James
Somehow this is true to a certain extent and to a certain age, beyond which I feel the child should be left free to explore on his own.. I firmly believe a year in boarding school.. away frm the comfort of home does a whole lot of good..
P.S Inspite of this.. please keep the presents coming :)
If I had my child to raise all over again, I'd build self-esteem first, and the house later. I'd finger-paint more, and point the finger less. I would do less correcting and more connecting. I'd take my eyes off my watch, and watch with my eyes. I'd take more hikes and fly more kites. I'd stop playing serious, and seriously play. I would run through more fields and gaze at more stars. I'd do more hugging and less tugging.
By: Diane Loomans
Parents guide their children and aid them in achieving all that they can achieve, and more.. As my someone experienced (three times over) at the hospital said, ”There comes a point in time in Life – especially before marriage.. that you love yourself more than any one else.. even more than you love your parents.. AND then welcome those lovely lil additions to your family; Everything changes……….. You love them more than anything in the world!” And the vicious cycle continues.. Parents place their children as their TOP priority, and dedicate themselves wholeheartedly to the cause. They make a conscientious effort as to not let life's problems and concerns take precedence over their responsibilities as parents to help nurture their young ones.. who remain Young forever regardless of their chronological and mental age..
Parents' Day is a time for communities to celebrate our dedicated parents who strive to raise their children with unconditional love, often putting self-gratification aside to nurture their children in a loving and forgiving environment.
The guys who fear becoming fathers don't understand that fathering is not something perfect men do, but something that perfects the man. The end product of child raising is not the child but the parent.
By: Frank Pittman
I seriously don’t understand this – “Im not ready for marriage” business or “We’re not ready to have kids”.. The world is already plagued by the DINKS Syndrome.. you knw.. Double Income No Kids :) Life I believe is about planning and adjustment thereafter.. but then again – Life’s short and anything can happen to ANYONE at ANY point of time.. Unfortunately the prior grave statement is a result of seeing scores of cases at the hospital, and it completely changes your perspective towards how you live Life..
Making the decision to have a child is momentous. It is to decide forever to have your heart go walking around outside your body.
By: Elizabeth Stone
S w e e t! I would add that its not only momentous but monumentous as well ! To have one's heart (Jigar kaa tukraa) walking outside the body is okay.. to watch her/him go astray is painful.. As kids (of our parents) its our responsibility to face difficult situations head-on and when in doubt - think and act according to what we would like OUR kids to do were they to face the same situation.. Really - Its as simple as that .. ( Easier said than done!)
Once again We wish all parents n parents to be, around the world, a very happy Parents’ Day……… God-willing May there be many more to come !
Over the past few weeks, I've been going absolutely Spectra crazy!
Playing around just before Xmas, I borrowed a snazzy little Polaroid Spectra Close-Up kit from Mr. Michael Raso of the Film Photography Podcast. WARNING: This closeup kit + Impossible Project film needs A LOT of light! But when you can nail down the "pull string" focusing, you'll be rewarded with great shots.
Another common and willing subject, Lauren's mentor, professor Valerie Escobedo, was curiously peering at the red dots I was shining on her while attempting to get sharp focus. Instead I landed on her new knit hat, but the shot came out all well the same. :)
Polaroid Spectra SE
Closeup Attachment w/ "pull string"
Heavily Expired Spectra Film (2005)
Stop theTorture
Torture is the act of inflicting severe pain (whether physical or psychological) as a means of punishment, revenge, forcing information or a confession, or simply as an act of cruelty. Throughout history, torture has taken on a wide variety of forms, and has often been used as a method of political re-education, interrogation, punishment, and coercion. In addition to state-sponsored torture, individuals or groups may be motivated to inflict torture on others for similar reasons to those of a state; however, the motive for torture can also be for the sadistic gratification of the torturer.
Torture is prohibited under international law and the domestic laws of most countries in the 21st century. It is considered to be a violation of human rights, and is declared to be unacceptable by Article 5 of the UN Universal Declaration of Human Rights. Signatories of the Third Geneva Convention and Fourth Geneva Convention officially agree not to torture prisoners in armed conflicts. Torture is also prohibited by the United Nations Convention Against Torture, which has been ratified by 147 countries.
National and international legal prohibitions on torture derive from a consensus that torture and similar ill-treatment are immoral, as well as impractical.
Despite these international conventions, organizations that monitor abuses of human rights (e.g. Amnesty International, the International Rehabilitation Council for Torture Victims) report widespread use condoned by states in many regions of the world.
Amnesty International estimates that at least 81 world governments currently practice torture, some of them openly.
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
Female Orgasm is easily the most intense and powerful pleasure a lady may feel, then a phase of relaxation and gratification ensues. Orgasm, What exactly is it? The term orgasm comes from the Greek orgh intending to desire ardently. It's the culmination of sexual satisfaction, which will come all of a sudden,
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
I can't keep up with even a one-a-day Flickr schedule, and often post bad stuff randomly picked from my archives, poorly processed, just for the sake of uploading 'something'...
Meanwhile, I'm far more active at Instagram, where it takes seconds to crop any shot to a lo-res square the size of a $#!+ty iPhone screen, and a single click to slap a 'creative' kitsch filter onto it. INSTAnt GRAtification! (finally deciphered the Instagram name).
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
There is no use putting into words the feeling of gratification I get when setting eyes on the machine that will take me to the end of this continent. Yours truly with the beast that will accompany me to Tierra del Fuego. I am now much poorer in money and infinitely richer in soul.
Introduction
Have you been dating for a while and aren't sure why your success rate is so low? Are you recently divorced after many years of marriage and don't know how to navigate this new world of dating? Does it seem like everyone around you makes it look so easy and yet you struggle with this concept every time someone new asks you out? You might be going about it the wrong way, or you might simply need some dating tips for women that will make the process a little easier. Follow this guide on dating tips for women, and watch your dating life change faster than even you expected.
The Details
* Know what you want. It sounds too easy, but you have to know what you want and stick to it. If you are simply looking for something casual, stick to it and don't let relationship-type guys into your life, or you will be the cause of heartache. Likewise, if you are looking for a long-term guy, jumping into bed with the first person that asks sends the message that you want a fling. Know what you want, and stick to it.
* Love yourself. This seems to be the one tip of dating advice for women that women want to skip. We live in an age of instant gratification, and many people are looking for something easy and fast. If you are looking for love, you aren't going to find it if you can't even stand being with yourself. Love yourself. It will subconsciously send the message to men that you are a confident woman who is worth dating.
* Know how to look great. If you need help with personal style or grooming, get it. There's nothing wrong with calling in the professionals to do so. Buy a new wardrobe if you are new to the scene, or simply get some advice on how to put together what you already have. Establish a look that makes you feel great.
* Start wearing lingerie more frequently not because you are going to jump into bed with every man you meet, unless that's the dating life you want, but because it does something to your self-esteem that makes you more noticeable when you walk into a room. It's a little fashion tip that adds confidence in a heartbeat. Even when you have pretty lacy things underneath your Juicy Couture tracksuit, you immediately feel sexier. And when you feel sexy, you act sexy and guys love that.
* Don't sweat the small stuff. When it comes to fashion, beauty and style, obsessing over the fact that your eyebrows didn't get waxed evenly is going to take your focus away from a really great date. At the same time, if you are freaking out all night because the waiter spilled water on the table, you aren't going to notice your date's amazing conversation. Don't sweat the small stuff. If what happened isn't going to matter in 10 minutes in the grand scheme of life, spending more time on it than that is a major waste of your time.
* Put yourself out there with the men you want to meet. If you are looking for a short-term guy who doesn't take dating seriously, put yourself where they are the bars, the clubs and dance joints. Not saying all men at these locations are like that, but few married couples talk about how they met their spouse at the bar. If you are looking for a long-term guy, put yourself in the places where he is? the tennis club, church or the bookstore. The point is to date, you need to meet men, and that isn't going to happen while you are at home surfing the Internet.
The Bottom Line
Dating in the 21st century is easier said than done, but not just for women, for men too. The best dating tips for women in the 21st century involve tips that help women be a 21st-century woman, without looking too eager. She needs to know exactly what she wants, while having the confidence to go after it. Look great, love yourself and put yourself out there, and it won't be long before you catch the eye of a man who will want to have dinner with you. And a little lingerie has never hurt anybody. www.datingtipsforwomen.us
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
The smile. An inanimate object portraying the feel of the gratification, satisfaction and appreciation you feel when solidifying a new idea.
Judge Herman Thomas, who stepped down from the bench in 2007, is accused of spanking young men with a paddle or belt for sexual gratification in exchange for leniency in court. He faces more than 70 charges, including kidnapping, sex abuse, assault, extortion and sodomy. He was found "not guilty" of all acounts. Where is the justice? Someone painted this image in his likeness on the side of a building across from Krispy Kreme in Mobile, Alabama.
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
Front cover from the theatre programme for a production of "The Geisha" at the Hippodrome Theatre, Keighley, staged by Keighley Amateur Operatic and Dramatic Society in September 1919.
Keighley Amateur Operatic and Dramatic Society's production of "The Geisha" played at the Hippodrome Theatre in Keighley for six nights from Monday 22nd September to Saturday 27th September 1919. The Japanese musical comedy was written by Owen Hall with music by Sidney Jones. The KAODS production was produced by Edwin Bryan, with musical director Joseph Harker.
This was only the second production staged by the Keighley Amateur Operatic and Dramatic Society, following their debut with "Haddon Hall" in 1914. The outbreak of the First World War meant further productions were put on hold for over five years.
The story is set in a Japanese Tea House run by Chinaman Wun-Hi (played by Ernest Marsden). A troupe of Geisha are attached to the Tea House, including the celebrated O Mimosa San (Mabel Rothera). A party of English sailors from H. M. S. 'The Turtle' and English ladies from the yacht of Lady Constance Wynne (Gladys Broster) visit the Tea House. Officer Reginald Fairfax (Harry Shackleton) falls for the charms of Mimosa, despite being engaged to Molly Seamore (Ethel Bird). But Provincial Governor Marquis Imari (W. Bruce Johnston) also has his heart set on Mimosa and threatens to close down the Tea House and auction off the geisha. When this is carried out Lady Constance wins the bidding for Mimosa but Molly has disguised herself as a geisha and ends up being bought by the Marquis. Later at the Marquis' Palace, his wedding to Molly is about to take place when Lady Constance, Reginald and others from the English party arrive and set about sorting out the confusion. Reginald and Molly are reunited, the Marquis ends up with Tea House interpreter Juliette (Annie Battle), and Mimosa ends up with her intended, Captain Katana (Arthur G. Ramsden).
The show also starred Mary Stell, Marion Holmes, Maud Holmes, Agnes Battle, Doris Capper, Annie Watson, Nancy Wilkinson, Florence McDonnell, J. Louis Midgley, Harry Ambler, Dick Bird, Norah B. Holmes, and Frank Shuttleworth.
The Keighley News of Saturday 27th September 1919 reviewed the production: "A word of commendation is due to the members of the Keighley Amateur Operatic and Dramatic Society on the way in which they took in hand the task of reorganising their affairs and on the thoroughness with which the work was done to enable 'The Geisha' to be presented at the Keighley Hippodrome this week... The selection of 'The Geisha' proved a happy one. Light and catchy music, opportunities for dainty and vivacious acting by the ladies, and a breezy, nautical touch - all in keeping with present-day demand - are the characteristics of this popular comic opera."
"Evidence of excellent support was forthcoming immediately the booking of seats commenced, and it was obvious at an early date that the financial success of the affair was assured. It was therefore with extreme gratification that the committee were able to announce at the close of Monday night's performance that they had achieved a first night record and that in view of the initial success a performance would be given the Saturday afternoon in addition to those announced for each evening of the week."
The 40-page programme was printed by Wadsworth & Co. of Russell Street, Keighley. It measures approximately 195mm by 125mm. The programme was part of an anonymous donation given in 2022.
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BOULEZ conducts ZAPPA. by Frank Zappa. performed by the Ensemble Intercontemporaine & the Barking Pumpkin Digital Gratification Consort.
Hollywood, Capitol Records for EMI Records Limited, [august] 1984. issued as Angel 4DS 3817o.
11-7/8" 33-1/3 rpm phonodisc with offset labels in 12-1/8 x 12 plastic pocket printed both sides, in 12-3/8 x 12-3/8 offset sleeve.
music. 7 "dance pieces", with accompanying choreographic notes by Zappa, 3 performed by the Ensemble Intercontemporaine conducted by Pierre Boulez at IRCAM, 1o & 11 january 1984, the others "during the three-month period thereafter" at the UMRK by Zappa on synclavier. cover painting by Donald Roller Wilson. it is said that the pressing for this title was miserably small (5ooo?).
slight scuff arcs to jacket...
45.oo
Ancient Erotic Peruvian Art Sculptured Pottery depicting mutual sexual gratification
Displayed At Larco Museum of Lima Perú
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
Lydia, known as Latex Lady Lydia, is a prominent figure from the fictional kingdom of Latxrubbero on the planet Dommalex. Her life story is deeply intertwined with the creation and trade of latex clothing, her family's legacy, and the tumultuous reign of Queen Silverleaf.
Book 1 - Latex Lady Lydia of black gloss manor
Chapter 1 - Early Life and Family Legacy
Chapter 2 - The Reign of Queen Silverleaf
Chapter 3 - Return to Prominence
Chapter 4 - The new latex queen of Latxrubbero
Chapter 3 - Return to Prominence
When Queen Silverleaf was 25 and Lydia was 30, Silverleaf mysteriously disappeared. It was rumored that Silverleaf, driven by her insatiable greed for latex and sexual gratification, had ventured into the "cave of greed" and never returned. With Silverleaf's disappearance, King Root reclaimed the throne, and the latex maids, including Lydia, were freed. Lydia returned to Black-gloss manor in Moss-roof city, where her sister Rose had been maintaining the estate. Their parents, Lily and Knight Trunk, had gone missing years prior. Lydia resumed her role as the Latex Lady, restarting the production of latex clothing, which she, in collaboration with King Root, once again distributed to the 12 kingdoms and queendoms.
When Lydia was 32 see found her parrent within shrub village and when She with her sister came there it was alreddy and latex manor filled with latex. Seeing a latex clade inner home with latex everything within to Lydia this was paradise. She when up the a fully latex bed room and all the clothing was latex and poilshed to a high shine. Two years later within the Time of The rule of the evil latex quuen also known as the Latex sorceress Shimmerrah from the Queendom of Gonzzul, Lydia and her sister moved to There parrents latex manor called While-gloss manor in shrub village which was west from Green-roof city. They did not wish lose all there latex to an anothere evil selfish queen.
Knowing that Shimmerah may one day take all skilled in given her stunning latex outfits. of Black-gloss manor she was very well known and only for the outfits but for her black and white pretty hair. So she longer died her hair white to let her ture black hair grow out. She knew she could never give up wearing latex so she wanted to look like another latex girl.
More about Latex lady Lydia
Name: Lydia
Her parents: her mother Lily and her father knght Trunk
Her sister: Rose
Birthplace: Black-gloss manor within Moss-roof city
Age in image: 26
Her queendom: Latxrubbero
Continent - The 12 kingdoms and queendoms
Planet: Dommalex
Height : 5, 5
Hair colour: black and white
Eye colour: light blue
Favourite colours: Black and pink
Sexually: bisexual
Libido: low
Personality: posh and elegant and sexy
Talking voice: posh and flirtatious
How she see's herself, sexy, attractive and very elegant.
Favourite fashion: Sexy shiny latex clothing of many kinds
Favourite clothing, elegant latex outfits,
Favourite things, making latex clothing
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
second to last one from this roll that i'd like to share. if you want to see 'em all in one place, check this out.
inspired by Holly's post on Mortal Muses Film Friday today, I'm thinking I'll be shooting up some instant film today.
____________________________
Before I get pick up where I left off last night, I am pleased to announce my Leica M3 has returned from its convalescence in Wisconsin where it has been since late March. The 50mm on it was damaged beyond repair, but the body survived and is currently sitting nearby loaded with film. At least I have a 35mm and a 90mm lens to go with it for now. I am happy to have it back, it was like missing a hand.
Anyway, I wanted to talk a bit about photography as a language today. It has been an idea I have been kicking around for a couple of weeks in my head. Most definitions of language involve words or sounds. But how about this one:
"A systematic means of communicating ideas or feelings by the use of conventionalized signs, sounds, gestures, or marks having understood meanings".
I don't think I have to make too much of an argument for photography as a form of language, that is communication of ideas and emotions. Look at enough photographs here on Flickr and you will quickly come to realize how effective a tool of communication photography can be. Take that a further step and realize how much of your daily life and its transactions depend upon visual input from photographic images or video. Billboards, TVs, menus, signs, the newspaper, advertising, etc...
We are just sort of circling where I want to go with this though, so perhaps I should start steering it in.
I don't quite know how to express this, which I do find a bit ironic considering the nature of this conversation, but I think a lot of people let language use them instead of the other way around. It seems like we have sort of come to take it for granted, and the dissemination of ideas (seems to) have slowed down. We almost seem to use language in a reactive sort of way instead of proactive. I mean, we make little effort to teach ourselves, and instead rely on what we hear from others to educate us. Not always a bad thing, but practiced as a philosophy it is not a sound habit either.
Hmm but to tie this in to photography. I think the same sort of reactive approach gets taken a lot of times. Instead of communicating in words, noises or dialects we communicate in images. Colors and shades. Light and dark. I chose the quote from last night in particular. I think a lot of the photography I see today has no problems with content or clarity. Digital imaging has allowed us to take clear, content-ridden images with an ease we have never enjoyed previously.
Now I don't want to say the tendencies I am speaking of are the fault of digital cameras. They aren't... completely. They present us with the ability to satisfy our desire for quick gratification, but they don't force us to fulfill that desire. We do that ourselves.
Hmm I am not sure how clear I am being actually, well like I said, I am thinking out loud here, so bear with me... or don't. ;-)
I think a lot of photographers approach their craft in a reactive sort of way. It is funny, I have always sort of considered there to be three levels of progression one goes through as they learn photography.
We all start off knowing very little. Green and amateur. We don't know the technicals or the rules. We are a bit lost and often a lot confused. And these are not fun positions to be in, they make us uncomfortable and nobody I have yet met enjoys being such. So we have a real desire to learn and better ourselves. To stretch our horizons to encompass definitions of these technicals and rules which elude us. Many of us who take up this art and craft seriously really push ourselves to work through this stage. Which leads to the second.
That is where we have a firm grasp of technicals and we know the rules and when to apply them. We can make techinically precise images. We see a scene and are able to execute its photographic capture. I think the problem here is we start to forget what it was like to be in stage one, and so we start to lose that drive to better ourselves. We have gotten just good enough to be competent at communicating with a camera, but despite this comfort we are not eloquent by any means.
Which is where stage three comes in. This is where one learns there are no rules, they are merely actually only guides, to help point us in the right direction when we need it, but as often we don't, capable of finding our own direction. This is where one's unique voice really develops, or where what is called one's style starts to shine through in a distinctive fashion. But this is also the hardest stage to reach, mainly due to the lures of the second stage.
Lots of us get to that second stage and plateau. And I will say here, there is nothing wrong with that. It really depends on your goals, what you want to be able to achieve. Like language, not all of us want to be able to write dramatic or inspirational speeches. Not all of us care to master English, or whichever language is our native language, to such a degree. And that is fine. We learn what we need, enough to get by and communicate on a daily basis. And for some this is fine, and it is not my position to say this is wrong.
But photography is the same way. It is ok to get to that second stage, to get just competent enough to be able to communicate. And I feel like some don't realize this important understanding.
As I said earlier, I think the problem is we slake our initial thirst for knowledge. We work ourselves out of that uncomfortable first stage. Again, equate this with language. Remember how many of our early years are spent learning to read, write and talk. And then after high school, how much of that time spent expanding our understanding of language drops off. Many spend very little time expanding their language, let alone learning a second or third or fourth...
But going back to photography. I think part of the problem is we allow ourselves to be seduced by equipment. We become educated enough to understand words like "rule of thirds" or megapixels or SLR and then we become drunk on them. Acquired knowledge is a double-edged sword in this way.
I think that the best result from a "learning experience" is not an answer but rather more questions. Answers are really dead ends in disguise. But questions keep us searching. They keep us pushing ourselves to learn more questions. Because really, you can never find an answer if you don't first find the question.
And that I think is the gist of what I am trying to say. Sometimes I browse through Flickr and it doesn't seem like many are willing to ask questions, but rather just show off the answers they have learned. There is a subtle but important difference here.
I heard the question asked recently in regards to landscape photography, "Does anyone take original and creative photos anymore?" I think the better question is, "Does anyone actually want to?" And this is where the question of language comes in. We all need to ask ourselves, what exactly is it we wish to communicate. What am I trying to say? What is my goal, where is my imperative? Do I even want to say anything at all, or do I just enjoy the chatter? There isn't a right or wrong answer to this per se, as long as you remember that what you are deciding to do is to either speak above that chatter, to raise your voice in order to be heard, or to be content to contribute to ongoing hum and murmur.
Anyway, I am presenting an argument here. Anybody reading this is always welcome to argue back, in a constructive thought-out manner please. In fact, dialogue is encouraged. Again, exercising that noodle upstairs only makes us better at what we do.
The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy: A Lananian Cyborg Ontology – Andre Nusselder
In the virtual world of Second Life, where status is often accrued by having the best collection of sexually appealing avatars, desire and its ultimate physical endpoint, sex (or in this case cybersex), prevails. Cybersex is “more than role play it is the creation of a shared fantasy.” Avatars are hollow – avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot – there is no inconvenience to their bodies. And if an avatar has no orifices then sex in Second Life is safer than in real life – the user is “freed from the burden of the body.” Many criticisms have been levelled at Second Life for its high number of sex, porn and exotic dance Sims. Contemporary art critic and curator Domenico Quaranta said of in world existence, “life revolves around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption.” As the promotional video for dedicated cybersex virtual world “The Red Light Center” attests, “Be who you want to be…without the hassle”. Cybersex or ‘getting off online’, in Second Life is a form of immersive role play – a mixed reality happening in that it more often than not, one could imagine, elicits physical action in its users offline.
Whilst filming the “sex-scene” for this work my mind flickered between the ridiculousness of two digital bodies’ glitching against each other and the surreal feeling that behind that bunch of pixels a real person is operating and text chatting or, somewhat disturbingly, perhaps even masturbating. In the end I created two avatars – one my own and one an idealised male – and operated them both simultaneously using two computers to create the desired film output for projection. It was quite fitting as in the end, playing dolls, are we not just virtually fucking ourselves anyway? Can we really create intimacy in these new manufactured spaces?
Zenza Bronica ETRS 6:4.5 medium format SLR
Zenzanon f3.5 150mm PE aspherical lens with electronic leaf shutter
AE prism view finder and speed grip, Nikon SB-20 flash
Polaroid Land Pack back modified to hold Fuji Instax Mini 800 ISO film cartridge, developed by hand rolling
still need to position frame, practice technique to evenly spread chemicals, correct for front focus
See [www.youtube.com/watch?v=hawoHRGaDFw] for Bronica medium format camera operation