Kim Eliot FungPhenomenon of Being 2006

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It’s like returning to a location that filled the child-mind with its enormity only to find it suddenly shrunk, like music that once moved you, moving on now without you.

A rule to which there are precious few exceptions.

The disparity between perception and reality has to burn away over time, like morning fog. Perhaps this is what Baudelaire was about when he advised poets to burn anything written before the age of twenty-five if they wanted to be taken seriously.

If you take the idea of poetry literally: what of Rimbaud—who wrote everything he would ever write prior to turning twenty?

What if you define poetry as did Emily Dickinson—and I do—what does this mean for the photo poetry of Francesca Woodman?

What about Kim Eliot Fung who was a teenager when she made this photograph?

I mean there are certainly criticisms that can be made here—adolescent angst, sentimentality. I might even add question with regard to why the model’s head is cut off—though I think the effort of the image has something to do with the spectators gaze and how an awareness of that implication inverts and skews notions of anonymity, gender perception/performance and the politics of visual representation of identity.

Criticisms that the work lacks refinement or is unaccomplished are completely off base. In other words, it suggests a precocious understanding of what maturity entails even if it has not yet fully reached maturation.

This is one of my favorite photographs. Unlike so many things that I return to in time, this does not seem smaller than my memory of it. If anything, the opposite is true: the image itself seems larger, richer and fuller when measured against my memory of it.

It’s my hope that Ms. Fung will return to photography at some point. Until then she makes aprons and curates the always impressive Editor’s Index.

pulmonaire:

 (by jɑne.)

I love this. LOVE.

Originally, it was supposed to reblog via sporeprint Wednesday morning but was deleted for ‘violating one or more of Tumblr’s community standards’.

Huh? Why? It’s not like it’s risque. In fact, it’s downright tame compared to what I usual post and G rated by Tumblr standards.

I wonder if maybe there’s something afoul with the attribution? Both this post and the aforementioned deleted post are both sourced to a Flickr user with the alias hisplainjane–maybe that’s incorrect?

After scanning through her images I didn’t see this one. Granted, at present I am locked out of my account, so I guess it could be a restricted image. (Why on earth, though?)

On the other hand it is not exactly out of line with the rest of the work–even if it is of a much higher quality. Or perhaps I am just so jealous and awed as a result of it’s simplicity, surreality and ambiguity. I mean, Jesus Harold and Maude Christ, it’s goddamn dead fucking sexy.

It took longer than am willing admit– along with a good bit of lost sleep and an uncharacteristic stroke of good luck– but I found a cross post. This one lacks the nearly 25K notes.

Alina Senchuk (goodbyestockholm)

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La petit mort  2011

It is difficult to speak the truth, for although there is only one truth, it is alive and therefore has a live and changing face.

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Franz Kafka

danishprinciple:

Anna Mathilda Eberhard

Part of Eve’s Discussion by Marie Howe

It was like the moment when a bird decides not to eat from your hand,
and flies, just before it flies, the moment the rivers seem to still
and stop because a storm is coming, but there is no storm, as when
a hundred starlings lift and bank together before they wheel and drop,
very much like the moment, driving on bad ice, when it occurs to you
your car could spin, just before it slowly begins to spin, like
the moment just before you forgot what it was you were about to say,
it was like that, and after that, it was still like that, only
all the time.

kalkibodhi:

Tops

KalkiBodhi Archives

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This is exactly and uncannily what I want when I am feeling horny distilled to some #skinnyframebullshit that had decent color before some fucker futzed with it.

Still though: unf and total sploosh.

I love everything here, including things I typically hate, i.e. hipster-y fashion, canned lighting and Toilet Paper Magazine–from whence this emerges.

Yes, cunnilingus being one of my favorite things has a lot to do with it and the balance consists in the way she’s looking down, watching what her partner is doing to her.

Add this to the list of things I would love to do ASAP with a(ny) willing partner. It’s been entirely too long for me.

This is exactlythe sort of thing I wanted to feature when I started Acetylene Eyes—something to aim a one finger salute in the direction of all the endless rehash of explicit imagery with only two criteria: keep the titillating bits visible in the frame and in focus; something with a modicum of consideration for composition, form and content.

As an image maker invested in questions of public vs. private—particularly as they pertain to the politics of graphic nudity and sexual tableau—this image fascinates me.

Its hallucinatory blush is reminiscent of the rotoscoped animation in Waking Life and A Scanner Darkly and invokes the feeling of a memory which may have only ever been a dream.

During my junior year of college, I was assigned a room in a flat with six other students. I knew not one of them on move-in day. But nine months later, six of us were very close; two in fact, remain, very, very dear friends.

Another dear college friend enjoys describing me as “violently allergic strangers and bullshit;” so it was a bit surprising that I gone on so well with my flat mates.

All I can say by way of explanation is I have never been as comfortable in my own skin as I was sharing space with these people. Virtually everything I know about living in, participating with and fostering a community comes as a result of those nine months—everyone looked out for everyone else in the most simple and touching ways.

Within two weeks, no one locked their doors. Within two months doors were rarely closed and no one really knocked so much as peaked their head inside to ask if it was okay to come in.

One of the many amazing memories I have of this time has the same hypnogogic quality as this image.

It was toward the end of the term. I had come back from my morning class (Russian) to find the flat empty. My intent had been to nap but between the mild hangover from the night before and caffeine that allowed me to drag my ass out of bed in time to make it to class I couldn’t fall asleep.

The thought occurred to me that if I could get myself off, there was a better than average chance I might be able to pass out again. And it was one of those rare times, when as you get started you realize your body is ready and willing but the orgasm you are chasing proves elusive.

My eyes were closed so I didn’t realize Lela in the room until I heard her exclaim: Oh

I suffered a litany of close calls as a teen but somehow no one had ever caught me in flagrante delicto until that moment. I stopped masturbating but more in the pausing the action instead of the trying to hide what I had been doing. It surprised me that I neither felt horrified or even a little bit ashamed.

I opened my eyes. Lela, all freckles and strawberry blond hair was standing maybe four feet away from me staring at me.

Wow.

Her right hand flew up to hover an inch or so in front of her eyes; her pale hand seeming paler against her reddening face.

Uh, hey, I need to ask you something. Um…could you, you know, definitely finish taking care of this but maybe put on a towel after and come out to the kitchen for a minute?

Instead of backing away room, she merely turned, dropped her hand from her eyes and pulled the door to but not closed behind as if she was just trying not to disturb someone who was sleeping.

I’d assumed I wouldn’t be able to finish but I quickly found my rhythm again and came like gangbusters in less than five minutes.

As soon as I could I slipped on a t-shirt and pajama bottoms.

Lela was sitting on the stool at the breakfast bar, still a little red faced, reading a photocopied packet.

Before I could say anything she had her arms wrapped around me.

There were no apologies because none were needed. No embarrassment or shame. For the first tim in my life just exuberant acceptance.

I inquired what the hug was for and she responded that’s what I came looking for you for in the first place. That and—sheepishly—to see if you’d let me borrow your car so I drop the donated food at the shelters tonight?

Ilina Vicktoria

An increasing number of image makers claim to have been disproportionately influenced by Andrei Tarkovsky; few benefit from comparison. (Only two come to mind: Bela Tarr and to a greatly diminished and inconsistent effect Gus Van Sant.)

I am not sure Ilina Vicktoria espouses Tarkovskian influences but considering this famous still of Anatoliy Solonitzyn as Pisatel in Stalker crowned with twisted tree branches bears more than a passing resemblance to the top image, I’d say the odds are good she does.

Her angle of view and scale are different. Also, in her photo the branches serve less of a crown than a mobile artfully counter weighted with Siberian dogwood berries. (Also what is with that distorted blob: is it a light leak? How is it’s position so freakishly perfect to balance out the baseboard/floor and curtains at the lower right edge of the frame? It’s slightly unnerving given the clear Stalker reference—a film notable for being shot twice due to the lab ruining the original footage.)

Something deeper links Vicktoria to the famed Russian auteur, something more than similar content and shared nationality, something more like an attitude toward the image. An attitude built upon a belief of what images are meant to do.

Tarkovsky tries to say something about this attitude but his explanations skew all-to-readily toward justification and abstraction. But it wasn’t until searching for the aforementioned still of Solonitzyn for this post that I stumbled upon this awesome article on Stalker. In it, Brecht Andersch describes the effect Tarkovsky’s films achieve as follows:

The members of Tarkovsky’s audience, if only subconsciously, are brought to awareness of their own hidden depths, of the calling of the soul, of the imperative quest for the sacred. To see his films is to experience the process the Russian filmmaker described as “scales falling from the eyes”.

And that is how you can spot the real Tarkovskians even from low orbit: they are less interested in creating beauty as revealing it was there all along. (Not at all unlike Michelangelo trying to free the form which existed within the stone with his Unfinished Slaves—I can’t help but think Tarkovsky had these monumental sculptures just as much in mind as he did Acts 9:18.)

The question I am left with is: how the transcendence of discovering what is in plain sight instead of manufacturing spectacle can be applied to the visual depictions of sexuality (which is itself a pathway to transcendent experience.)

(Kudos to youarecordiallyinvitedtopissoff for once again bringing another mindblowing photographer to my attention that I never would have otherwise found.)

I wish I knew something about the origins of this drawing. The minimal line work is suggests far more detail than is actually present—a style reminiscent of Japanese manga; the rough sketch look harkening back to Schiele.

What attracts me even more is the way the scale suggest a Lolita-esque subtext.

Now—full disclosure—I am not into the whole Lolita thing. I’ve tried to read the book on several occasions and I just cannot summon a single shred of empathy for Humbert or Dolores. (Perhaps that is in fact the point.)

There is a part of me that gets the whole Lolita thing. Although it has less to do with what the idea started as and more of what it has become; namely, despite the polar differences in their intentions, a strong overlap exists between those who are attracted to pubescence (i.e. hebephiles) and those who are attracted to female bodied androgyny.

While a good many things distinguish these two types of individuals what warrants my inclusion in the latter category is primarily my deeply held conviction that explicit individual consent forms the fundamental basis for all relationships. That and the fact I am enormously preoccupied with female bodied-ness in general and female bodied androgyny in particular.

I began to regularly masturbate around the time I was eight. I had no idea what I was doing but rubbing against a pillow made me feel warm and fuzzy inside.

At the time, my home life was a mire of abuse and neglect and these pillow sessions became one of the ways I tried to fill the hole where parental and community nurturing should have been.

The worse things got the more time I would spend chasing that warm and fuzzy feeling.

I guess I realized what I was doing was called masturbating when I was eleven or so. It wasn’t until I was fourteen that it established any sort of relationship to anything more than pure sensory stimulation.

All my female friends had male friends. Boys weren’t interested in me and I wasn’t especially interested in them. But at the same time, I felt weird. I saw the ways boys looked at the girls. And I knew that it was how I looked at them too. The difference was my relationship with them was fundamentally different. My female friends shared with me things they never would staring boys. It was a privilege that I was determined not to abuse. And I refused to indulge in any sort of masturbatory fantasy involving my friends out of respect for their privacy.

When I masturbated, I closed my eyes but never imagined what it would be like to share my body with another and have them share their body with me in return; instead, I focused on generalized aspects of female bodied-ness: breasts (always flat/smallish, the exponential D’s of porn stars cup sizes have always grossed me out), clitoris’, labia and vaginas. Yet, it wasn’t the visualizations themselves that edged me closer and closer to orgasm, it was about trying to see the thing so clearly in my mind that I could feel for the briefest moment something inside myself projected outwards as if it were real. The closer I managed to come, the more exquisite my climax.

I have no idea when I first became aware of cunnilingus as a thing—perhaps in my late teens. By that point, I knew way more about the variations and varieties of sexual congress than anyone in an Xtian school should have.

I became fixated on the idea of going down on a girl. Looking back I find this strange given that even the thought of tasting my own secretions—let alone anyone else’s—was enough to induce retching. (Oh, let me number as the stars the multifarious joys and wonder of sexually repressive indoctrination.)

The first female bodied individual I went down on was my best friend some years later.

We had been messing around for about a week and I remember standing behind her in the living room of her apartment my left arm around her, up her shirt cradling her right breast in my left hand; my index finger stroking her nipple. She turned back toward me so our passion could communicate itself without words via lips, tongues and teeth.

My right arm stretched down her bare stomach, pulling holding her against my body; my wrist disappears behind the waist of her mauve panties, fingers curving clutching as my slickened fingers shuttled side-to-side over her clitoris. Her lips shook and her head fell away from my mouth making the angle to awkward for me to follow. I kissed her chin and then her throat.

Her breathless voice came in short, sharp gasps: tell me what you want.

Can I go down on you?

She pulled away from me, letting my hands slide off of her and turned away to modestly step out of the black cotton watching as I tasted the wetness coating my fingers. It reminded me of raspberry vinegrette.

With her left hand covering her sex, she lay down on the rug and spread her legs. I knelt and crawled towards her on hands and knees.

As I approached, her hand lifted then fell away to mirror the other already at her side.

A single pea sized droplet of moisture was suspended in her fiery fur. I felt a profound reverence. Not the quiet reverence of a church but the rushing clarity that comes in the crushing noise of a furious storm.

I settled from my hands and knees to my belly.

Her fingers ran through my hair and I could feel her heat on my face.

Wetness drawn by gravity traced a line along the inner edge of her right labia minora. I thought: do what you would want her to do to you, closed my eyes and followed the line all the way up as if it were melting ice cream in a cone.

Shivers shook her thighs as the flat of my tongue crested her clitoral hood. I retraced the same path down again, flicking my tongue tip once right and once left as I descended. I sucked up the drop I had first seen on the way up again.

And then I stopped thinking about what I was doing and just acted. I listened to her the pitch of her moans, the pace of her breath, the tightness of the fingers she knotted into my hair.

Of course, as her panting became more rapid and she began to move her hips in time with lips and tongue, the doorbell rang. (When I tell you that I have the worst luck ever, you won’t believe me but I shit you not after we dressed and opened the door it was, and I shit you not: Jehovah’s Witnesses.)

I am still not enamored with my own taste. Although I will admit when I am feeling alone—which is more often than not lately, I will lick my fingers after pleasuring myself.

It’s weird but it never tastes like anything.