Showing posts with label references. Show all posts
Showing posts with label references. Show all posts

Tuesday, December 28, 2010

Laughing Seriously

But the most general articulation of the problem of the relation of women to the law has been set out by Luce Irigaray. In Irigaray's view, women start in an impossible position. "Women are in a position of exclusion... Man's discourse, inasmuch as it sets forth the law... [knows] what there is to know about that exclusion." The exclusion of women is "internal to an order from which nothing escapes: the order of (man's) discourse." it is futile to imagine that, from a pocket within man's discourse -- for instance, from within the legal system -- women can substitute feminine power for masculine power: while seeming to be a reversal, this "phallic 'seizure of power" would leave women still "caught up in the economy of the same." "There is no simple manageable way to leap to the outside of phallogocentrism, nor any possible way to situate oneself there [on the outside], that would result from the simple fact of being a woman." Man's discourse can be taken over only via the path of "mimicry." Unless the woman's utterances are to remain "unintelligible" according to the code in force," they must be "borrowed from a model that leaves [her] sex aside."

All of which does not mean, however, that the law, as part of the discourse of the masculine imaginary, has to remain a closed and forbidden book. On the contrary, once a women has reconnoitered it and demarcated its "outside," she can situate herself with respect to it as a woman, "implicated in it and at the same time exceeding its limits." But her implication in it cannot be taken with unequivocal seriousness. To inhabit the male imaginary seriously is to commit herself to a simple reversal of power, to fall back into "the economy of the same."

To Irigaray, feminism and jurisprudence are thus not incompatible. But a feminist jurisprudence that is not ludic, that in return for access to the law concedes the claim of the law to its dignity and respects that dignity, by that concession gives up its independence. "Isn't laughter the first form of liberation from a secular oppression? Isn't the phallic tantamount to the seriousness of meaning?" "To escape from a pure and simple reversal of the masculine position means... not to forget to laugh."
Quoted from: J.M Coetzee, Giving Offense: Essays on Censorship, (Chicago, London: The University of Chicago Press, 1996) pp. 27 - 8.

All quotes and references from: Luce Irigaray, This Sex which is not One, trans. Catherine Porter with Caroline Burke (Ithaca, N.Y. Cornell University Press, 1985).

Wednesday, November 24, 2010

out soon

http://www.thebigidea.co.nz/connect/events/2010/dec/77879-artsville-in-bed-with-anika-moa

Artsville: In Bed With Anika Moa
The Artsville series returns with an intimate and frank documentary In Bed With Anika Moa in which the much-loved songwriter bares her soul about going it alone in the music industry, coming out as a lesbian, and her marriage to a female burlesque performer.

Saturday, November 20, 2010

Emancipatory Hedonism


From Jan Verwoert's essay

Lying Freely to the Public. And Other, Maybe Better, Ways to Survive

Power structures need public prosecutors because they invest belief into the reality of these structures. Whether the prosecutors defend or criticize the structures makes no difference in this regard. On the contrary, it is precisely the critic of institutional power structures, for instance, who does these structures the invaluable service of making the public believe that the institutional apparatus is the most, if not only, important force that determines the production of art. Converting to this belief, however, means to renounce your faith in the idea that art practice could actually make a difference. One prominent fallacy of political art criticism has therefore always been to ground their critique in a serious belief in the exclusive power of power structures. A criticism that sought to empower resistance, however, would have to analyse the structures, but deny them the service of believing, and instead invest the power of belief into the possibility of change through (art) practice.

Monday, November 15, 2010

K8 Hardy & Men

Back to some recent contemporary outputs...
COLLAGE COLLAGE COLLAGE

Friday, November 12, 2010

Kiss kiss kiss

A queer snog-mob gathers for the Popes recent visit to Barcelona. Plus check out the pope mobile. It looks like a virtine (or lightbox?) on wheels! I want one.



Elmgreen & Dragset's National Memorial for the Homosexual Victims of the Nazi Regime in Berlin. Gonna payses me a wee visit in December.


Lesbian couples kiss at Federation Square, Melbourne as Home and Away airs its first lesbian kiss (December 2009). You can see the kiss here ...WARNING... it is total disapointment in terms of kiss quality. These les' did a much better job, and on mass too.


July 18, 2010 counter-protest of NOM (National Organization for Marriage)

Oberlin College, in Oberlin Ohio, on Tuesday May 10, 2000. Nice work lads.

Argentina passes gay marriage legislation. Kisses all round!

Thursday, November 11, 2010

friends to watch out for




  • Article in this weeks NZ Listener on 'It gets better'
  • The street-facing lightboxes' audience will include taxi-drivers waiting in the taxi stand. I noticed one driver today who had a cross with Jesus on it dangling from his rear view mirror

Monday, November 8, 2010

Avant-garde Homosexuality?

At the end of this page you can see documentation of a performance (?) at an opening at YK3 in Melbourne. 50 big ones if you can find Daniel du Bern.

thy thigh

Thursday, November 4, 2010

Interrupting this broadcast for a couple of newsflash images


so you might have seen them already but! feeling the need for some visual text-tone xx rooooaaaarrrr!!

Rach, Marnie, Clare, you'd all look hot in these. Old/new YUSS



Saturday, October 30, 2010

news of the minute: 'out and proud' objects


(This post relies heavily on the images that might potentially form in your cerebral areas)

http://www.stuff.co.nz/life-style/wellbeing/4289463/Out-and-proud

I feel that the projected reader of this article is intended to be other than glbt - or it is addressed to 'dominant' hegemony or perceptions of sexuality (strongly aligned with gender stereotypes, even if there is an attempt being made to dismantle some of them).

It's not really addressed to the glbt reader (or a reader sensitive to glbt experience). Or if it is, then the glbt reader must ghost as a non-glbt reader for a time, or draw on a time prior to their adoption of glbt circumference, or draw on a communal memory of a time prior to glbt-dom, if they were lucky enough to have not needed to adopt glbt radius, pie or square root, and instead were 'born as'). For example it's not saying anything directly about the different lifestyles, beliefs or attitudes that glbt individuals have or lead. Nor how glbt might see the world in relation to other glbt people - not to mention attitudes to war, nationalism, identity, gender, relationships, etc. which are mono-mobilized and for me remain unsung here.


You can be gay and own a poster signed by ye-olde-Bush - and that liberal-meets-conservative contradiction (a hinted-at contradiction seems to be a recognizable form of normative subjectivity in the context of this article) is then mobilized to absorb the homosexual into an 'open' reality that has strict border controls. It's a doubling of 'contradiction' that acts as a means for absorption and absolution...


It's the petty relocation or shuffling of difference in this kind of article or address, which makes glbt experience appear mono-cultural to me.

AND it brings up the power-ambiguity of subjectivity.

If Hito was trying to think through an alternative to the power-ambiguity of subjectivity, proposing the historically bruised (or contingency-bruised) object, what are we left with as far as tools, thoughts, sensations, to live, work and act as or with:

  • a community of objects
  • objects which circulate a tangible uninhibited humanity
  • objects that can/can't possibly breach everyday humanity
  • objects that forage on the outskirts of power-as-humanity
  • objects of communities; a cancellation or corroboration of non-mono-subjective humanity
  • ...?
(phew...)

And a recap re: Sophie Calle via Yve-Alain Bois (Lecture)

Calle conjures the indefatigable reader
There is an overflow of affect (via anticipation) – there is a countdown and then an encounter
And the encounter is entropic
She pretends to be building a character
She makes manifest contingency
And the tragedies of impersonation


I respond:
She would remove her glasses and begin at the farthest point her sight allowed a figure to be defined. The closer the figure got, the harder it became for her to see in any detail the figure as it persisted into near distance. Sometimes she would resort to her prescription lenses to take in the full force of the figure’s advance.

Thursday, October 28, 2010

Lesbian Gaizzzzz

Hey was looking around for some theories that might help with thinking about commercialised images of lesbians in relation to a viewing public, this is all i got to so far though:

"Diana Fuss tackles most directly the mobilisation of a lesbian gaze within this cultural field [fashion photography] whichprovides a socially sanctioned structure in which women are encouraged to consume, in voyeuristic if not vampiristic fashion, the images of other women(Fuss, 1994:211). For Fuss this process by which women come to look as though they were lesbians entails, as she put it, ‘consuming’ images of women whose poses range from the coy to the aggressive. And this spectorial position is triggered by the distinctive codings which are specific to fashion photography many of which rely on, as Rabine points out, the fragment of the body, showing body parts in pieces, cropping the body to show either torso, or legs or in the case of the images Fuss looks at, seemingly disembodied faces ‘detatched from any visible body. These images of body parts .... "



bla bla fetish Kristeva bla bla Oedipalisation Freud bla bla

"… Fuss demonstrates how fashion photographs have to be able to generate homosexual desire so that it can be properly eliminated, but in so doing there is also a production of ‘lesbian desire within the identificatory move itself’. However, as she goes on to say, this lesbian eroticism is so apparent, so visible for all to see, that this obviousness actually also immediately negtes the ‘homoerotic structure of the look’. The illicit desire is ‘harnessed’ in the very process of being invoked as something that exists and that has to be contained and controlled. Thus there is a mobilisation of homosexual desire within an overarching visual economy which at the same time forbids it, producing it in order to say no. Or as if to say ‘better get it over and done with here and by these means’. These photographs therefore flirt with the viewer in a game which both allows the desire expression, and then reminds the viewer of the high cost attached abandoning herself to those desires. Fuss describes this as the ‘strategic deployment of a homospectorial look’(ibid: 227) So precarious is the passage for the woman or girl into required heterosexuality, that, especially in a commercial field given over to expanding the pleasures of feminine consumption, it takes immense efforts to bring this unruly terrain to order, and in a marvelous passage Fuss explains that the work of the fashion image is to provoke this desire so that it can be ‘channeled (or Chaneled)’ (idib:227). And unlike the viewing position supposed by the medium of film, the position ‘mapped by contemporary commercial fashion photography can be read … as feminine, homosexual, and pre-oedipal’ (ibid:228) …"

From: Angela McRobbie The aftermath of feminism: gender, culture and social change, 2009, Sage Publications, London, pp 106-7
Images worth linking to for article - no really!!! http://www.trendhunter.com/trends/versace-fall-08

Monday, October 25, 2010

Louise Lawler

Louise Lawler, Birdcalls, 1972/1981
Audio recording 71’00”, text panel

Listen to 1971 audio recording here.

Douglas Crimp

Nice talking tonight, and facking delicious snacks R!

Some L Day (!) listening:

Douglas Crimp on Gordon Matta-Clark

Saturday, October 2, 2010

so Gay right now

hi! hey! hi!
sooooo contemporary homosexuality huh...
now now now!
as opposed to that ol fashioned kind, where are those old fashioned homos these days?
and what are they wearing? Hi vis gear? or is that us" us the contemps?
Homosexual Law Reform Bill right? is that a signpost? Destiny's Church, are they the past future?
is contemporary homosexuality ubiquitous via the queer spectrum?
will the metro-sexual survive the conservative backlash?
are we seeing ourselves reflected in the mainstream media and liking it?
this is so gay, l it,
can't wait to skype tomorrow w you all,
here's a lite offering towards the pool of ideas/research"": http://effingdykes.blogspot.com/
xxxxxL