Difference between revisions of "Pornotrash English"

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«Since our childhood we have been made feel ashamed of our body. First of all,
«Since our childhood we have been made feel ashamed of our body. First of all,
under absurd pretexts (...), we have been prevented to masturbate, we have been
under absurd pretexts (...), we have been prevented to masturbate, we have been
prevented to put our elbows on the table, we have been bound to never remain naked.
prevented to put our elbows on the table, we have been bound to never remain naked.We have been led into feel ashamed of our body because it translates our desires even when we don't dare to say them. We have been told: [to] submit ourselves with our flesh, wear ties, underwear and bras, make a military salute, not to lay on the grass, not to sit in your bosses office if not invited, remain seated in class...[...] FREE DISPOSITION OF OUR BODY »
We have been led into feel ashamed of our body because it translates our desires even
when we don't dare to say them. We have been told: [to] submit ourselves with our  
flesh, wear ties, underwear and bras, make a military salute, not to lay on the grass,
not to sit in your bosses office if not invited, remain seated in class...
[...]
FREE DISPOSITION OF OUR BODY »
Tout! n. 12, 23 april 1971, Journal du groupe « Vive la révolution » FAHR
Tout! n. 12, 23 april 1971, Journal du groupe « Vive la révolution » FAHR
http://semgai.free.fr/contenu/archives/Tout/TOUT12.html
http://semgai.free.fr/contenu/archives/Tout/TOUT12.html
Our body
 
is in continuous relationship with space, so we have to
Our body is in continuous relationship with space, so we have to « recognise that in society individuals undergo oppression related to their own physical features.»
« recognise that in society individuals undergo oppression related to their own
physical features.»
Francine Barthe-Deloizy, 2003, Géographie de la nudité. Etre nu quelque part. Ed. Bréal.
Francine Barthe-Deloizy, 2003, Géographie de la nudité. Etre nu quelque part. Ed. Bréal.
Our body
Our body
« marks a boundary between self and other, [...] It is our means for connecting
« marks a boundary between self and other, [...] It is our means for connecting
with, and experiencing, other spaces».
with, and experiencing, other spaces».
Gill Valentine, 2001, Social Geographies: Space and Society, New York: Prentice Hall, p. 15.
Gill Valentine, 2001, Social Geographies: Space and Society, New York: Prentice Hall, p. 15.
Our body
Our body
is a barrier between intimate and public, our individual and personal space
is a barrier between intimate and public, our individual and personal space
where the collective rules are integrated or challenged.
where the collective rules are integrated or challenged.
Our body
Our body
« is not just in space but it's space itself »
« is not just in space but it's space itself »
Johnston L. et Longhurst R., 2010, Space, Place, and Sex: Geographies of Sexualities, Lanham MD:
Johnston L. et Longhurst R., 2010, Space, Place, and Sex: Geographies of Sexualities, Lanham MD:Rowman and Littlefild.
Rowman and Littlefild.
 
Our body
Our body
« is also directly involved in a political field; power relations have an
« is also directly involved in a political field; power relations have an
immediate grip on it; they invest it, mark it, train it, torture it, force it to carry
immediate grip on it; they invest it, mark it, train it, torture it, force it to carry out tasks, to perform ceremonies, to emit signs ».
out tasks, to perform ceremonies, to emit signs ».
Foucault M.,1975, Surveiller et punir, Gallimard, Paris. Discipline & Punish - The Birth of the Prison. Tr.Sheridan. NY: Vintage, 1995.
Foucault M.,1975, Surveiller et punir, Gallimard, Paris. Discipline & Punish - The Birth of the Prison. Tr.
 
Sheridan. NY: Vintage, 1995.
But women's body
But women's body
« is everywhere, posted, filmed and advertised. A standard body strategically-normed.
« is everywhere, posted, filmed and advertised. A standard body strategically-normed. I can't take it any more, the images of the body, staged, coded as to strictly comply with social hierarchies that divide and link the body between them ».
I can't take it any more, the images of the body, staged, coded as to strictly comply
with social hierarchies that divide and link the body between them ».
Ton corps est un champ de bataille (fanzina, Lione, 2000)
Ton corps est un champ de bataille (fanzina, Lione, 2000)
The war waged against women's bodies
The war waged against women's bodies
« is also a war waged over our right to exist at all, with all our strengths, limitations,
« is also a war waged over our right to exist at all, with all our strengths, limitations, abilities, and vulnerabilities, in our full diversity and common humanity. »
abilities, and vulnerabilities, in our full diversity and common humanity. »
Carla Rice, Out from Under Occupation. Transforming Our Relationship with Our Bodies. Canadian Woman Studies/ les Cahiers de la Femme, Volume 14, Numero 3 (Juillet 1994).
Carla Rice, Out from Under Occupation. Transforming Our Relationship with Our Bodies. Canadian Woman
 
Studies/ les Cahiers de la Femme, Volume 14, Numero 3 (Juillet 1994).
The war waged against women's bodies
The war waged against women's bodies
« is also a conflict over race and skin colour, played out in deeply held stereotypes
« is also a conflict over race and skin colour, played out in deeply held stereotypes about the value and beauty of whiteness that saturate our culture and language, and are used to colonize non-white people and non-western societies ».
about the value and beauty of whiteness that saturate our culture and language, and
are used to colonize non-white people and non-western societies ».
Carla Rice, Out from Under Occupation. Transforming Our Relationship with Our Bodies. Canadian Woman
Carla Rice, Out from Under Occupation. Transforming Our Relationship with Our Bodies. Canadian Woman
Studies/ les Cahiers de la Femme, Volume 14, Numero 3 (Juillet 1994).
Studies/ les Cahiers de la Femme, Volume 14, Numero 3 (Juillet 1994).
And between all these bodies
And between all these bodies
« there's my body. My body which is me, that reacts, that's immobilized. [...] A body
« there's my body. My body which is me, that reacts, that's immobilized. [...] A body shaped by collective discourses, by the movement, in the sense of the little physical exercise I do, movement in the sense of the movements that have failed and that write it on me. Lungs which have breathed CS, but head that has never been broken by a truncheon. Pussy penetrated by too many people that should have never even come close, anus worked over by tongues, hands, feet, dildos, but above all mouth that has swollen too many times the disgust produced by this society, the fascism, the gender based violence, the indiscreet harassment that happens on the streets, at home and in
shaped by collective discourses, by the movement, in the sense of the little physical
exercise I do, movement in the sense of the movements that have failed and that write
it on me. Lungs which have breathed CS, but head that has never been broken by a
truncheon. Pussy penetrated by too many people that should have never even come
close, anus worked over by tongues, hands, feet, dildos, but above all mouth that has
swollen too many times the disgust produced by this society, the fascism, the gender
based violence, the indiscreet harassment that happens on the streets, at home and in
squats. [...] ».
squats. [...] ».
http://retroguard1a.noblogs.org/post/2012/12/15/cosa-puo-un-corpo/
http://retroguard1a.noblogs.org/post/2012/12/15/cosa-puo-un-corpo/
« a naked body
« a naked body
is not only
is not only
Line 126: Line 111:
[...]
[...]
Helen La Floresta « Donde yo mando », http://helenlafloresta.blogspot.fr/
Helen La Floresta « Donde yo mando », http://helenlafloresta.blogspot.fr/
My body
My body
IS A BATTLEGROUND
IS A BATTLEGROUND
Line 136: Line 122:
I conceive it,
I conceive it,
I create it... this way:
I create it... this way:
CHAPTER II
CHAPTER II
« I look for my own images. Playful. I started painting bodies, often the same.
« I look for my own images. Playful. I started painting bodies, often the same.
Androgynous. rhythms, caresses, movements, projections of multiple desires, panting
Androgynous. rhythms, caresses, movements, projections of multiple desires, panting is a pleasure. A libido in action. »
is a pleasure. A libido in action. »
Ton corps est un champ de battaille (fanzina, Lione, 2000)
Ton corps est un champ de battaille (fanzina, Lione, 2000)
« [...] Contrasexuality is an artistic creation and we are the artists of the G point. The
 
map of my body is made up of millions of dildos, as many orifices as the pores of my
« [...] Contrasexuality is an artistic creation and we are the artists of the G point. The map of my body is made up of millions of dildos, as many orifices as the pores of my skin and I could come rubbing your neck with my nose, while you're unexpectedly penetrate a place of me that is considered impenetrable. Foolish the one who one day said to me "Yes, but I sure will not come rubbing the hollow of the arm". We refute it. Collectively by skin, hands and head ».
skin and I could come rubbing your neck with my nose, while you're unexpectedly
penetrate a place of me that is considered impenetrable. Foolish the one who one day
said to me "Yes, but I sure will not come rubbing the hollow of the arm". We refute it.
Collectively by skin, hands and head ».
http://retroguard1a.noblogs.org/post/2012/12/15/cosa-puo-un-corpo/
http://retroguard1a.noblogs.org/post/2012/12/15/cosa-puo-un-corpo/
« The spaces of freedom that bodies take are sometimes unexpected in their
« The spaces of freedom that bodies take are sometimes unexpected in their
unpredictability in front of the power »
unpredictability in front of the power »
http://retroguard1a.noblogs.org/post/2012/12/15/cosa-puo-un-corpo/
http://retroguard1a.noblogs.org/post/2012/12/15/cosa-puo-un-corpo/
For this reason
For this reason
« I started exploring S/M as a bottom, and I still put my legs up in the air now and
« I started exploring S/M as a bottom, and I still put my legs up in the air now andthen. [...] In addition to being a sadist, I have a leather fetish. If I remember my Krafft-Ebing, that's another thing women aren't supposed to do[...]. [therefore] I am obviously a sex pervert, and good real true lesbians are not sex perverts. They are high priestesses of feminism, conjuring up the wimmin's revolution. As I understand it, after the wimmin's revolution, sex will consists of wimmin holding hands, taking off their shirts, and dancing in a circle. Then we will all fall asleep at exactly the same moment. If we didn't all fall asleep, something else might happen - something male-identified, objectifying, pornographic, noisy, and undignified. Something like an orgasm ».
then. [...] In addition to being a sadist, I have a leather fetish. If I remember my
Krafft-Ebing, that's another thing women aren't supposed to do[...]. [therefore] I am
obviously a sex pervert, and good real true lesbians are not sex perverts. They are
high priestesses of feminism, conjuring up the wimmin's revolution. As I understand
it, after the wimmin's revolution, sex will consists of wimmin holding hands, taking
off their shirts, and dancing in a circle. Then we will all fall asleep at exactly the
same moment. If we didn't all fall asleep, something else might happen - something
male-identified, objectifying, pornographic, noisy, and undignified. Something like
an orgasm ».
Pat Califia, 1994, Public sex -The Culture of Radical Sex. Cleiss Press. p. 158 - 159
Pat Califia, 1994, Public sex -The Culture of Radical Sex. Cleiss Press. p. 158 - 159
If I don't enjoy my pleasure,
If I don't enjoy my pleasure,
if I don't laugh,
if I don't laugh,
Line 171: Line 147:
« If I can't dance, it's not my revolution »
« If I can't dance, it's not my revolution »
Emma Goldman
Emma Goldman
And without my friends « I am nothing »
And without my friends « I am nothing »
Diana Pornoterrorista
Diana Pornoterrorista
They are there if I transform into
They are there if I transform into
« Sleeping Beauty.
« Sleeping Beauty.
It's so called a lover who forget to have a clitoris. So she falls into a sleepiness of
It's so called a lover who forget to have a clitoris. So she falls into a sleepiness of which she doesn’t even know the reason. The sleepy spell ends for the Beauty when [the lovers] gently remind her that she has a clitoris».
which she doesn’t even know the reason. The sleepy spell ends for the Beauty when
[the lovers] gently remind her that she has a clitoris».
Wittig, Monique e Sande Zeig, 1976, Brouillon pour un dictionnaire des amantes, Parigi, Grasset.
Wittig, Monique e Sande Zeig, 1976, Brouillon pour un dictionnaire des amantes, Parigi, Grasset.
I want
I want
« Hair.
« Hair.
Hair is the name of the glorious fleece that cover legs, arms, armpits, pubis and part
Hair is the name of the glorious fleece that cover legs, arms, armpits, pubis and part of the body. [Some lovers] admire the designs they form. Some admire its colours or length. Some like how they are distributed over the body. Many lovers envy those who have strong dark hairs. These cut their hair to make them grow stronger and thicker ».
of the body. [Some lovers] admire the designs they form. Some admire its colours or
length. Some like how they are distributed over the body. Many lovers envy those
who have strong dark hairs. These cut their hair to make them grow stronger and
thicker ».
Wittig, Monique e Sande Zeig (1976). Brouillon pour un dictionnaire des amantes. Parigi : Grasset
Wittig, Monique e Sande Zeig (1976). Brouillon pour un dictionnaire des amantes. Parigi : Grasset
I don't want
I don't want
« Clothes.
« Clothes. Ballad singer say that when happens to ask to lovers of lovers people how do they like to dress, they say that they don't like to do it, and it really seems they don't like to do it.
Ballad singer say that when happens to ask to lovers of lovers people how do they
like to dress, they say that they don't like to do it, and it really seems they don't like to
do it.
Wittig, Monique e Sande Zeig (1976). Brouillon pour un dictionnaire des amantes. Parigi : Grasset.
Wittig, Monique e Sande Zeig (1976). Brouillon pour un dictionnaire des amantes. Parigi : Grasset.
Let's start with an evidence: nudity itself means nothing [...] But this incredible
 
neutrality is cancelled when related to a place, a context [...]. If undressing to take a
Let's start with an evidence: nudity itself means nothing [...] But this incredible neutrality is cancelled when related to a place, a context [...]. If undressing to take a shower is a necessity, a banality, going to the opera or the restaurant completely naked is considered a provocation or exhibitionism.
shower is a necessity, a banality, going to the opera or the restaurant completely
naked is considered a provocation or exhibitionism.
[...]
[...]
Throughout history, with various pretexts, nudity has been loaded with value,
Throughout history, with various pretexts, nudity has been loaded with value,
standards, taboo. It became scandalous, exciting, obsessive or innocent.
standards, taboo. It became scandalous, exciting, obsessive or innocent.
[...]
[...]
The place serves as an evaluation criteria of nudity: incongruous and shocking in
The place serves as an evaluation criteria of nudity: incongruous and shocking in certain situations, ordinary or daily in others. The situation of ordinary or
certain situations, ordinary or daily in others. The situation of ordinary or
extraordinary nudity, spectacular or trivial, have an effect of characterizing spaces where nudity has its place or not.
extraordinary nudity, spectacular or trivial, have an effect of characterizing spaces
where nudity has its place or not.
Nudity produces places[...].
Nudity produces places[...].
When nudity breaks into public spaces [...] produces a formidable visual impact and
When nudity breaks into public spaces [...] produces a formidable visual impact and an incontestable subversive effect.[...]
an incontestable subversive effect.[...]
Nudity, private or public, individual or collective, creates places, territories, practices, works on rules, on codes, on histories, on morals and ideologies».
Nudity, private or public, individual or collective, creates places, territories, practices,
works on rules, on codes, on histories, on morals and ideologies».
Francine barthe-Delozy, 2003, Gèographie de la nuditè. Etre nu quelque part. Ed. Brèal.
Francine barthe-Delozy, 2003, Gèographie de la nuditè. Etre nu quelque part. Ed. Brèal.
Nudity creates relations,
Nudity creates relations,
my body creates relations:
my body creates relations:
MY BODY IS A PLAYGROUND
MY BODY IS A PLAYGROUND

Latest revision as of 17:11, 5 October 2014

PORNO TRASH

CHAPTER I «Since our childhood we have been made feel ashamed of our body. First of all, under absurd pretexts (...), we have been prevented to masturbate, we have been prevented to put our elbows on the table, we have been bound to never remain naked.We have been led into feel ashamed of our body because it translates our desires even when we don't dare to say them. We have been told: [to] submit ourselves with our flesh, wear ties, underwear and bras, make a military salute, not to lay on the grass, not to sit in your bosses office if not invited, remain seated in class...[...] FREE DISPOSITION OF OUR BODY » Tout! n. 12, 23 april 1971, Journal du groupe « Vive la révolution » FAHR http://semgai.free.fr/contenu/archives/Tout/TOUT12.html

Our body is in continuous relationship with space, so we have to « recognise that in society individuals undergo oppression related to their own physical features.» Francine Barthe-Deloizy, 2003, Géographie de la nudité. Etre nu quelque part. Ed. Bréal.

Our body « marks a boundary between self and other, [...] It is our means for connecting with, and experiencing, other spaces». Gill Valentine, 2001, Social Geographies: Space and Society, New York: Prentice Hall, p. 15.

Our body is a barrier between intimate and public, our individual and personal space where the collective rules are integrated or challenged.

Our body « is not just in space but it's space itself » Johnston L. et Longhurst R., 2010, Space, Place, and Sex: Geographies of Sexualities, Lanham MD:Rowman and Littlefild.

Our body « is also directly involved in a political field; power relations have an immediate grip on it; they invest it, mark it, train it, torture it, force it to carry out tasks, to perform ceremonies, to emit signs ». Foucault M.,1975, Surveiller et punir, Gallimard, Paris. Discipline & Punish - The Birth of the Prison. Tr.Sheridan. NY: Vintage, 1995.

But women's body « is everywhere, posted, filmed and advertised. A standard body strategically-normed. I can't take it any more, the images of the body, staged, coded as to strictly comply with social hierarchies that divide and link the body between them ». Ton corps est un champ de bataille (fanzina, Lione, 2000)

The war waged against women's bodies « is also a war waged over our right to exist at all, with all our strengths, limitations, abilities, and vulnerabilities, in our full diversity and common humanity. » Carla Rice, Out from Under Occupation. Transforming Our Relationship with Our Bodies. Canadian Woman Studies/ les Cahiers de la Femme, Volume 14, Numero 3 (Juillet 1994).

The war waged against women's bodies « is also a conflict over race and skin colour, played out in deeply held stereotypes about the value and beauty of whiteness that saturate our culture and language, and are used to colonize non-white people and non-western societies ». Carla Rice, Out from Under Occupation. Transforming Our Relationship with Our Bodies. Canadian Woman Studies/ les Cahiers de la Femme, Volume 14, Numero 3 (Juillet 1994).

And between all these bodies « there's my body. My body which is me, that reacts, that's immobilized. [...] A body shaped by collective discourses, by the movement, in the sense of the little physical exercise I do, movement in the sense of the movements that have failed and that write it on me. Lungs which have breathed CS, but head that has never been broken by a truncheon. Pussy penetrated by too many people that should have never even come close, anus worked over by tongues, hands, feet, dildos, but above all mouth that has swollen too many times the disgust produced by this society, the fascism, the gender based violence, the indiscreet harassment that happens on the streets, at home and in squats. [...] ». http://retroguard1a.noblogs.org/post/2012/12/15/cosa-puo-un-corpo/

« a naked body is not only a naked body it's a commercial product a weapon of mass consciousness a territory in a permanent war everything depends on the context where the naked body is shown what does the naked body do who's is the naked body how is the naked body context gender race class age differences' variables oppression's variables body of woman body of naked woman object to be shape liposuction cream epilation gentle underwear and a handbag by Vuitton body of naked woman space to inhabit [...] body of woman poor bodies old bodies strange bodies abnormal bodies space to inhabit, to take possession, to make it THEIR OWN masterpiece to shape it to form it to put their own brand and if it rebels and if it resists and does not collaborate with their oppression it's a body to insult to put in chains to violate rape weapon of mass destruction [...] patriarchy weapon of mass destruction body of a woman body of a poor woman body of a black woman body of an indigenous woman strange bodies territory to occupy territory: that which is controlled by a certain type of power body: that which is controlled by a certain type of power which power? [...] Helen La Floresta « Donde yo mando », http://helenlafloresta.blogspot.fr/

My body IS A BATTLEGROUND Barbara Kruger Its limits design the moral order and meaning of the world. To conceive the body is a way to conceive the world. So my world, my body, I see it, I conceive it, I create it... this way:

CHAPTER II « I look for my own images. Playful. I started painting bodies, often the same. Androgynous. rhythms, caresses, movements, projections of multiple desires, panting is a pleasure. A libido in action. » Ton corps est un champ de battaille (fanzina, Lione, 2000)

« [...] Contrasexuality is an artistic creation and we are the artists of the G point. The map of my body is made up of millions of dildos, as many orifices as the pores of my skin and I could come rubbing your neck with my nose, while you're unexpectedly penetrate a place of me that is considered impenetrable. Foolish the one who one day said to me "Yes, but I sure will not come rubbing the hollow of the arm". We refute it. Collectively by skin, hands and head ». http://retroguard1a.noblogs.org/post/2012/12/15/cosa-puo-un-corpo/

« The spaces of freedom that bodies take are sometimes unexpected in their unpredictability in front of the power » http://retroguard1a.noblogs.org/post/2012/12/15/cosa-puo-un-corpo/

For this reason « I started exploring S/M as a bottom, and I still put my legs up in the air now andthen. [...] In addition to being a sadist, I have a leather fetish. If I remember my Krafft-Ebing, that's another thing women aren't supposed to do[...]. [therefore] I am obviously a sex pervert, and good real true lesbians are not sex perverts. They are high priestesses of feminism, conjuring up the wimmin's revolution. As I understand it, after the wimmin's revolution, sex will consists of wimmin holding hands, taking off their shirts, and dancing in a circle. Then we will all fall asleep at exactly the same moment. If we didn't all fall asleep, something else might happen - something male-identified, objectifying, pornographic, noisy, and undignified. Something like an orgasm ». Pat Califia, 1994, Public sex -The Culture of Radical Sex. Cleiss Press. p. 158 - 159

If I don't enjoy my pleasure, if I don't laugh, if I don't sing, if I don't fuck, if I don't touch, if I don't play, « If I can't dance, it's not my revolution » Emma Goldman

And without my friends « I am nothing » Diana Pornoterrorista They are there if I transform into « Sleeping Beauty. It's so called a lover who forget to have a clitoris. So she falls into a sleepiness of which she doesn’t even know the reason. The sleepy spell ends for the Beauty when [the lovers] gently remind her that she has a clitoris». Wittig, Monique e Sande Zeig, 1976, Brouillon pour un dictionnaire des amantes, Parigi, Grasset.

I want « Hair. Hair is the name of the glorious fleece that cover legs, arms, armpits, pubis and part of the body. [Some lovers] admire the designs they form. Some admire its colours or length. Some like how they are distributed over the body. Many lovers envy those who have strong dark hairs. These cut their hair to make them grow stronger and thicker ». Wittig, Monique e Sande Zeig (1976). Brouillon pour un dictionnaire des amantes. Parigi : Grasset

I don't want « Clothes. Ballad singer say that when happens to ask to lovers of lovers people how do they like to dress, they say that they don't like to do it, and it really seems they don't like to do it. Wittig, Monique e Sande Zeig (1976). Brouillon pour un dictionnaire des amantes. Parigi : Grasset.

Let's start with an evidence: nudity itself means nothing [...] But this incredible neutrality is cancelled when related to a place, a context [...]. If undressing to take a shower is a necessity, a banality, going to the opera or the restaurant completely naked is considered a provocation or exhibitionism. [...] Throughout history, with various pretexts, nudity has been loaded with value, standards, taboo. It became scandalous, exciting, obsessive or innocent. [...] The place serves as an evaluation criteria of nudity: incongruous and shocking in certain situations, ordinary or daily in others. The situation of ordinary or extraordinary nudity, spectacular or trivial, have an effect of characterizing spaces where nudity has its place or not. Nudity produces places[...]. When nudity breaks into public spaces [...] produces a formidable visual impact and an incontestable subversive effect.[...] Nudity, private or public, individual or collective, creates places, territories, practices, works on rules, on codes, on histories, on morals and ideologies». Francine barthe-Delozy, 2003, Gèographie de la nuditè. Etre nu quelque part. Ed. Brèal.

Nudity creates relations, my body creates relations: MY BODY IS A PLAYGROUND