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"The conditions in which the actresses work, the degrading contracts they sign, their inability to either control images of themselves once they’ve left the profession, or earn money from their use—the censors aren’t interested in any of these aspects of female dignity. The authorities aren’t bothered that there isn’t a single specialist center where actresses can go to access the various pieces of extremely specific information pertinent to their work. One kind of dignity obsesses them, but they don’t give a damn about the other. Yet porn is made with human flesh, with the flesh of actresses. And in the end, the only moral issue it poses is the political aggressiveness with which these women are treated—offstage.

We’re talking about women who decide to enter the profession when they are eighteen to twenty years old. The very specific age when “long-term consequence” has no more significance than ancient Greek. Middle-aged men have no shame about being turned on by girls only just out of childhood; they see nothing wrong with spanking the monkey while looking at barely pubescent asses. That’s their problem, they are adults, and they should take responsibility for it—for example, by being particularly attentive and kind to the young girls who agree to satisfy their appetites. In fact, not at all, they are furious that these girls should have dared perform exactly what they want to see. Masculine grace and coherence in a nutshell: “Give me what I want, I beg you, so I can spit in your face for doing it.”"
King Kong Theory by Virginie Despentes (via marginalutilite)

nicoangeli:

*apollo pulls lyre out of nowhere* anyway, here’s wonderwall

psychocereals:

engorgio-reducio:

should i reblog for the caption or the tags

is this even real life

psychocereals:

engorgio-reducio:

should i reblog for the caption or the tags

is this even real life

"There is nothing more mysterious than a TV set left on in an empty room. It is even stranger than a man talking to himself or a woman standing dreaming at her stove. It is as if another planet is communicating with you. Suddenly the TV reveals itself for what it really is: a video of another world, ultimately addressed to no one at all, delivering its images indifferently, indifferent to its own messages (you can easily imagine it still functioning after humanity has disappeared)."
— Jean Baudrillard, America (via infinite-iterations)
"[T]he closet is not proposed as the definitive liberatory space, a type of glamorous existential location for queer Muslims, or a panacea against the prejudice consistently faced by queer Muslims. Rather, the question is whether the closet, in this context can – and I contend that it can – be understood as a voluntary but vital expression of fragmented selves, of multiple identities and polymorphous sexual existences that refuse to be co-opted into the dominant discourses of power and authority. The closet can then, in fact, function as a prophetic voice on the periphery, a mode of existence that refuses to be allured by the trappings of “normative” practice. It is also perhaps the only empowering space for many queer Muslims where it is possible to preserve a balance between their religion, sexuality and society even if such a balance is tenuous and incommensurable at best."
— Beyond misfortune and fault : Islam, same-sex sexuality and liberation by Nadeem Mahomed  (via kawrage)
likeafieldmouse:

Marcel Duchamp - Mile of String (1942)
"Duchamp’s experiments with space and display continued when, after the exodus of many of the Surrealists out of Europe during WWII, Andre Breton called on him to install the first international Surrealist exhibition in the United States. 
Titled First Papers of Surrealism after the application papers that most of the émigré artists faced upon entry into the US, the show was held in 1942 at the Whitelaw Reid mansion in New York as a benefit affair for the French Relief Societies.
Having acquired sixteen miles of ordinary white string for the installation, the artist engaged the help of several friends to erect a criss-crossed webbing (in the end, using only a fraction of his overzealous purchase). 
The twine traversed the mansion’s former drawing rooms, filled for the exhibition with paintings hung on portable display partitions (paintings being the overwhelming majority of what was on show). 
The tangled mesh did not cut off vision completely (it was the frustration, not the elimination of sight that Duchamp desired); nevertheless, the entwinement between and in front of so many of the things ‘on display’ constituted a decided barrier between the spectator and the works of art.”

likeafieldmouse:

Marcel Duchamp - Mile of String (1942)

"Duchamp’s experiments with space and display continued when, after the exodus of many of the Surrealists out of Europe during WWII, Andre Breton called on him to install the first international Surrealist exhibition in the United States.

Titled First Papers of Surrealism after the application papers that most of the émigré artists faced upon entry into the US, the show was held in 1942 at the Whitelaw Reid mansion in New York as a benefit affair for the French Relief Societies.

Having acquired sixteen miles of ordinary white string for the installation, the artist engaged the help of several friends to erect a criss-crossed webbing (in the end, using only a fraction of his overzealous purchase). 

The twine traversed the mansion’s former drawing rooms, filled for the exhibition with paintings hung on portable display partitions (paintings being the overwhelming majority of what was on show).

The tangled mesh did not cut off vision completely (it was the frustration, not the elimination of sight that Duchamp desired); nevertheless, the entwinement between and in front of so many of the things ‘on display’ constituted a decided barrier between the spectator and the works of art.”

red-lipstick:

David Shrigley - I’m Dead, 2011     Taxidermy Puppy with Wooden Sign and Acrylics

red-lipstick:

David Shrigley - I’m Dead, 2011     Taxidermy Puppy with Wooden Sign and Acrylics