Post pornography

Début des années cinquante, à Paris, le strip-tease s'acclimate comme le stade le plus aboutit de ce qui est autorisé à la scène en termes d'érotisme. Le succès rencontré par cet art du spectacle vivant est tel qu'à partir des années soixante d'autres arts se définissent par rapport à lui, le cinéma, par exemple, avec Agnès Laurent dans Mademoiselle Strip-tease (P. Foucaud, 1957), Nadia Gray dans La dolce vita (F. Fellini, 1960), Nico dans Strip-tease (J. Poitrenaud, 1963), Jane Birkin dans Comment réussir quand on est con et pleurnichard (M. Audiard, 1974), Romy Schneider dans L'important c'est d'aimer (1975), etc. À partir de documents d'archives privées (photographies de presse, revues anciennes, etc.), nous nous intéresserons à l'arsenal élaboré de situations, de postures, de mouvements et de gestes par les étoiles du strip-tease des années soixante, notamment Dodo d'Hambourg, Lili Niagara et Rita Renoir, dont s'inspire la femme fatale. Nous mettrons spécialement en évidence comment Rita Renoir incarnait une représentation subversive de la femme fatale, depuis ses noirs cérémonials du Crazy Horse, à ses scènes porno-satanistes du théâtre expérimental.

Las prácticas culturales en su conjunto están enmarcadas en y atravesadas por un contexto informacional que traza el camino por el que transita el siglo XXI. Pero ¿cuál es la entidad de este ser al que llamamos información? ¿Bajo qué rostros se muestra? Pensar la información hoy es pensar en las tecnologías digitales y el lugar que ocupan en la organización de las sociedades actuales, pero también es pensar en el sentido común que la asocia a las noticias, transmitidas diariamente por los medios de comunicación, e incluso en las implicancias que se desprenden de su propio nombre: in-formación, proceso que in-forma o que da forma.
Nosotros comenzaremos con el que creemos el primer aporte teórico/práctico de peso para comprender la sociedad de la segunda mitad del siglo XX, lo que se conoce como la Teoría Cibernética de la Información. Weiner y Shannon constituyen los primeros investigadores que elaboran un plan en el que el ser humano funciona como una variable regulatoria de los medios de información y comunicación, y no como el actor de peso en el espectro mediático. El filósofo Marshall McLuhan tomará la posta y construirá, a su manera ecléctica, la primera Teoría Auténtica de los Medios de Vinculación de Masas.
Aquí, en este punto de partida, se abren una gran cantidad de sendas por donde recorrer el devenir mediático de la sociedad postmoderna (la llamamos postmoderna, pero podríamos denominarla de diferentes maneras: tardocapitalista, postdisciplinaria, postfordista o postindustrial, de la comunicación, de la información, líquida, etcétera). Nosotros elegimos la que creemos central, porque su “objeto” había sido el Objeto privilegiado del siglo XX: el sexo y la sexualidad. La liberación de la representación de la sexualidad —que no es lo mismo que la liberación del sexo: más bien podría interpretarse como la inauguración de un nuevo tipo de sexualidad, y con él de un nuevo tipo de ser humano, de un ser post o transhumano— da cuenta de la transformación social y política radical que estaba viviendo en esos años. Nosotros consideramos a todas estas transformaciones o liberaciones como signos de un acontecimiento incluso más importante. Hace más de un siglo Friedrich Nietzsche sentenciaba en una famosa fórmula “la muerte de dios”. Para nosotros el fin de la era metafísica, que él también anunció y tantos otros tomaron la antorcha, recién se concretó con el traspaso del código de registro analógico al digital. El siglo XX fue el siglo del programa de desmontaje no sólo de la metafísica sino de la sociedad y la estructura mental que la metafísica traía consigo. La trampa reside en que todavía debemos recurrir a esa estructura para poder reflexionar sobre las condiciones de existencia en la sociedad de masas postmetafísica.
Con el fin de la metafísica termina una era demasiada humana de por lo menos dos mil quinientos años, pero no termina el régimen capitalista. Termina una estructura mental cuyo medio hegemónico era el libro, pero no termina ni la producción masiva de libros (más bien ésta se multiplica exponencialmente) ni las condiciones económicas y sociales que la producción de libros en particular, y la producción de cualquier mercancía en general, implican. Sólo que esas condiciones de producción, circulación y consumo también cambian. A este estadio del capitalismo nosotros le damos el nombre de Capitalismo Afectivo, porque hace del afecto la última mercancía a producirse masivamente. La afectación del capital toma formas diversas, siendo la mediación audiovisual uno de los modos más efectivos de pregnancia. Si bien la lógica de lo audio-visual está atravesada de pantallas, no es sólo el sentido de la vista el que se afecta ni la percepción visual la que se trastoca; también el entorno sonoro y la percepción auditiva entran hoy en manifiesto disloque: desde el sonido móvil de los reproductores portátiles hasta la ubicuidad del uso de la música como fondo de un sinfín de actividades cotidianas, el escenario info-comunicacional forja un nuevo mapa de la cultura sonora, re-estructurando el sentido -del oído en particular y del cuerpo en general.
El Capitalismo Afectivo o postmetafísico, cuyo modo de vincularse es a través de alguna modalidad del código digital, conoce un despliegue de vinculación y registro sólo limitado por la capacidad tecnológica, es decir ninguna ética ni ninguna intencionalidad humana parecen jugar algún rol más o menos relevante a la hora de decidir el destino de la deriva tecnológica. En este sentido habría que considerar al ser humano una plataforma de despegue o de aceleración de la vinculación mediática que se está llevando adelante. Ésta es la hipótesis que de algún modo el presente Seminario tratará de poner a prueba y someter a discusión.

RESUMO
O primeiro movimento desta dissertação de mestrado era criar um conceito que
operasse como modo de subjetivação que fosse uma rota de fuga à episteme
dominante do neoliberalismo. A este conceito, nomeei de pornoklastia. E essa
dissertação é o primeiro passo para a construção de um plano de imanência para ele.
Este conceito vem como hipótese de resposta ao problema que me propus: Como
encontrar modos de subjetivação que sejam alternativas éticas de práticas de liberdade
que “escapem” aos dispositivos de governamentalidade neoliberal? Ao longo desta
dissertação tentei traçar um panorama da arqueologia do conceito de episteme em
Foucault. Então, busquei dissertar acerca da episteme como condição de possibilidade
do pensamento com o intuito de esclarecer como o conceito de Era, de Preciado, é
análogo ao conceito de episteme. Por fim eu trato da estética da existência e da escrita
de si como formas de governamentalidade de si que aparecem no Testo Junkie, de
Preciado, para inserir o conceito de pornoklastia como uma possibilidade de prática de
si. Nos anexos tento traçar um panorama do conceito de pornografia além de comentar
algumas performances pornoklastas.
Palavras-chave: Episteme Pharmacopornografia. Preciado. Foucault. Estética da
existência.

ABSTRACT

The first movement of this master's dissertation was to create a concept that operated
as a mode of subjectivation that was an escape route from the dominant episteme of
neoliberalism. I named this concept pornoklastia. And this dissertation is the first step

towards building a plan of immanence for him. This concept answers the problem I
proposed: How can we find ways of subjectivation that are ethical alternatives to the
practices of freedom that “escape” the devices of neoliberal governamentality?
Throughout this dissertation, therefore, I tried to draw an overview of the archeology of
the concept of episteme in Foucault. So I tried to talk about the episteme as a condition
of possibility of thought in order to clarify how the concept of Era from Preciado is
analogous to the concept of episteme. Finally, I treat the aesthetics of existence as a
form of governamentality of oneself that appears in Preciado’s,Testo Junkie to insert the
concept of pornoklastia as a possibility of self-practice. In the annexes I try to give an
overview of the concept of pornography in addition to commenting on some pornoklasta
performances.
Keyword: Episteme. Pharmacopornography. Preciado. Foucault Aesthetics of
existence.

ABSTRAIT

Le premier mouvement de la thèse de ce master était de créer un concept qui
fonctionnait comme un mode de subjectivation qui était une échappatoire à l'épistémè
dominante du néolibéralisme. J'ai nommé ce concept pornoklastia. Et cette thèse est la
première étape vers la construction d'un plan d'immanence pour lui. Ce concept répond
au problème que j'ai proposé: comment trouver des voies de subjectivation qui soient
des alternatives éthiques aux pratiques de liberté qui «échappent» aux dispositifs de la
gouvernance néolibérale? Tout au long de cette thèse, j'ai donc tenté de dresser un
panorama de l'archéologie du concept d'épistémé chez Foucault. J'ai donc essayé de
parler de l'épistémè comme condition de possibilité de la pensée afin de clarifier en quoi
le concept d'Ere de Preciado est analogue au concept d'épistémé. Enfin, je traite
l’esthétique de l’existence comme une forme de gouvernance de soi-même qui apparaît
dans Preciado, Testo Junkie pour insérer le concept de pornoklastia comme une
possibilité d’auto-pratique. Dans les annexes, j'essaie de donner un aperçu du concept
de pornographie en plus de commenter certaines performances pornoklastas.

Mot-clé: épistème, pharmacopornographie, Preciado, Foucault, esthétique de
l'existence

ABSTRACTO

El primer movimiento de la disertación de esta maestría fue crear un concepto que
operara como un modo de subjetivación que era una vía de escape de la episteme
dominante del neoliberalismo. Llamé a este concepto pornoklastia. Y esta disertación es
el primer paso hacia la construcción de un plan de inmanencia para él. Este concepto
responde al problema que propuse: ¿Cómo podemos encontrar formas de subjetivación
que sean alternativas éticas a las prácticas de libertad que “escapen” a los dispositivos
de la gobernabilidad neoliberal? A lo largo de esta disertación, por lo tanto, traté de
hacer una revisión de la arqueología del concepto de episteme en Foucault. Entonces
traté de hablar de la episteme como condición de posibilidad del pensamiento para
aclarar cómo el concepto de Era de Preciado es análogo al concepto de episteme.
Finalmente, trato la estética de la existencia como una forma de gobernabilidad de uno
mismo que aparece en el Testo Junkie de Preciado para insertar el concepto de
pornoklastia como posibilidad de autopráctica. En los anexos trato de dar una
descripción general del concepto de pornografía además de comentar algunas
actuaciones de pornoklasta.
Palabra clave: Episteme. Farmacopornografía. Preciado. Foucault. Estética de la
existência.

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

http://sainsbury-institute.org/news-events/legislating-manga-workshop/

This talk will explore the implications of the Prohibited Images of Children section of the Coroners and Justice Act 2009 for Boys' Love and Yaoi in the UK. The British legislation will be set in context briefly with regard to the legal situation in North America, Australia, Japan and China. Anna is Chair of Qualitative Inquiry in the School of Psychology at the University of Leeds and is author of 'Boys’ Love manga for girls: Paedophilic, satirical, queer readings and English law' in Children, Sexuality and Sexualisation (2015). Her online BL fandom survey can be found at https://leeds.onlinesurveys.ac.uk/blfandomsurvey

Pornography is extensively produced, distributed, and used as a medium of entertainment around the world but has been little studied in Bangladesh. The present study examined the attitudes and risk factors of Bangladeshi university students' pornography consumption. A survey was carried among 313 undergraduate students at Jahangirnagar University (Dhaka, Bangladesh). The study found that 72% of students consumed pornography at least once within their entire life, and approximately half of them were occasional consumers. Approximately two-thirds (67%) encountered pornography during high school, although females typically encountered pornography much later. Logistic regression analysis showed that pornography consumption was predicted by being male, living in a rural area, being in a relationship, engaging in online activities (such as using Facebook), and watching movies. Further research is needed to further determine the behavioral patterns and associated factors that influence pornography consumption among Bangladeshi students.

Desviando-nos das possíveis discussões e análises acerca, por exemplo, da superação da perspectiva frontal e analógica das técnicas projetivas de produção da imagem que imperaram desde a "camera obscura" até a televisão, bem como do acalorado debate sobre a constituição da imagem técnica enquanto uma simulação numérica que não possui um modelo real do qual fora abstraída, quero conduzir, nas próximas páginas, uma reflexão acerca dos usos que fazemos dessas incontáveis selfies e nudes em intensa circulação e quais os costumes que contraímos em consequência disso, levantando as hipóteses de que (1) as selfies não são mais propriamente fotografias que representam nossos corpos, mas sim uma inscrição que atualiza a anatomia nas ambiências digitais, assim como (2) os nudes também não representam a nudez do corpo, mas constituem um gesto que sensibiliza a superfície das imagens, promovendo uma mutação na nossa faculdade perceptiva e alavancando uma espécie de “sentir transorgânico”, capaz de transformar estímulos informativos em afetos corporais.

Le 9 avril 1989, l'artiste états-unienne Barbara Kruger réalisait une affiche pour une marche à Washington en faveur du droit à l'avortement qui allait devenir célèbre. On y voit le visage résolu d'une femme de face que barre en plusieurs endroits le slogan « your body is a battleground ». Le visage en noir et blanc est scindé verticalement en deux. Les lettres blanches du slogan sur bandeau rouge se détachent à la manière des slogans d'Act-Up. Il est vrai que Kruger a dessiné pour Gran Fury 2 , le collectif de graphistes à l'origine de l'iden-tité visuelle du groupe fondé par Larry Kramer, participant ainsi à la « culture war » qui a marqué les années 1980-1990 aux États-Unis. Des années 1970 aux années 1990, du combat pour le droit à l'avortement à la lutte contre le VIH, la colère et les mobilisations contre les politiques de santé publiques mais aussi les médias, le nucléaire, la guerre au Vietnam passent par une occupation perfor-mative de l'espace public qui place le corps au centre. Qu'il s'agisse du corps des femmes occupé par les savoirs et le pouvoir médical, de leur exposition au crime et au viol que dénoncent en 1977 les 70 participantes de la fameuse performance de Suzanne Lacy et Leslie Labowitz In Mourning and in Rage 3 devant l'hôtel de ville de Los Angeles ou du corps des séropos, stigmatisés par Reagan, qui vont multiplier les die-in dans la rue. On sait ce qu'Act-Up New York et la santé communautaire ont emprunté aux groupes féministes de la seconde vague, à leur 1. Cet article est le premier volet d'une série consacrés à la critique du néo-libéralisme par la performance féministe queer, transféministe et le post-porn. Le second paraîtra dans la collection Théorème, Presses de la Sorbonne nouvelle et sera consacré au protest porn. Voir également Homo Inc.orporated, Le triangle et la licorne qui pète, Paris, Cambourakis, 2017. 2. « Ministère non officiel de la propagande d'Act-Up » selon Douglas Crimp, Gran Fury fait son apparition en 1988 dans le sillage d'Act-Up New York. Le collectif d'artistes se réclame « du pouvoir de l'art pour en finir avec la crise du Sida ». Il mènera de nombreuses actions dans l'espace urbain en s'appropriant les codes des médias de masse avec des affiches, des cartes postales, des détournements de journaux etc. On lui doit le célèbre logo d'Act-Up qui renverse le triangle rose des homosexuels dans les camps de concentration avec le slogan « Silence = Mort ». Gran Fury se dissout en 1995, estimant que le collectif ne peut plus adresser la complexité des messages sur le sida avec ses méthodes de guerilla design. 3. Sur les tenants et les aboutissants de cette performance, voir le texte de Lacy S., « In Mourning and in Rage (with analysis aforethought) »,

Yaoi/BL Fandom Survey (only takes 10 mins to complete):
https://leeds.onlinesurveys.ac.uk/blfandomsurvey

Madill, A. (2011-2013) Understanding Japanese "Boys' Love" manga from a UK perspective. British Academy.

These 234 BL stories in commercial English translation constitute my sample (up to November 2013). I define a 'story' as a narrative focusing on one central uke-seme pair and sometimes that has has to be a judgement call.  All stories have been coded using a large number of content and theoretical codes. I am interested in coding patterns but the main orientation of my analysis is qualitative.""""

En favorisant la création de pornographie critique, le développement des technologies d’Internet a permis à la communauté queer et féministe de développer un processus d’« implantation des perversions » au potentiel libérateur (Williams, 1989 : 118). La reconfiguration des représentations pornographiques entraîne en effet une redéfinition des rapports de pouvoir permettant d’élaborer un discours alternatif sur les sexualités. La praxis féministe ne demeure cependant pas « externe ou intouchée par les systèmes de domination hégémoniques » (Miller-Young, 2013 : 107) et il est en conséquence primordial d’apporter une analyse resserrée des possibilités qu’elle crée, de ses limites ainsi que des circonstances selon lesquelles l’une et l’autre s’organisent.
Porter notre étude sur les sites web CrashPadSeries et QueerPorn.tv, permet d’explorer le sub-espace de la pornographie queer et féministe étasunienne s’inscrivant dans un modèle économique marchand afin d’observer les modalités d’organisation des stratégies militantes mises en place au sein de cet espace. L’analyse des dynamiques influant sur l’équilibre entre la réussite économique de l’entreprise d’un côté et sa pureté militante de l’autre, paraît en effet essentielle puisque le discours produit se module en fonction des choix dictés par la gestion du projet.

Nel mio lavoro di tesi ho approfondito il tema della pornografia, applicandolo poi alla letteratura e all’impatto che la fruizione di pornografia può avere sullo sviluppo di una coscienza sociale improntata all’uguaglianza e all’accettazione del ‘diverso’, del queer.
Per questo motivo ho prediletto l’argomentazione di una branca del femminismo, la quale definisce pornografico esclusivamente il materiale e l’atteggiamento che sessualizza diseguaglianze. In questo modo, la pornografia inibisce lo sviluppo della coscienza critica relativa alla violenza e allo sfruttamento. Secondo questa visione, inoltre, non tutto il materiale esplicito è pornografico: infatti si parla di ‘erotismo’ o ‘postpornografia’, cioè rappresentazioni del sesso volte all’ampliamento del concetto di piacere e di identità di genere.
Ho poi considerato alcuni studi che sembrano dimostrare questa tesi, secondo cui la fruizione sempre più libera di pornografia online, tramite il meccanismo dei neuroni specchio, porta l’osservatore a situazioni di dipendenza e, in generale, a una maggiore accettazione di determinate ingiustizie radicate nel tessuto sociale.
Chiarito l’argomento di discussione, sono passata allo studio della pornografia scritta grazie all’analisi di alcune opere di due autori i quali hanno intelligentemente sfruttato il meccanismo dell’immedesimazione e dell’empatia legato alla lettura per denunciare l’atteggiamento tipicamente pornografico della società. I due autori in questione sono: David Foster Wallace e Roberto Bolano.
Ho inizialmente preso in considerazione un articolo-saggio di Wallace, ‘Il figlio grosso e rosso’, in cui è descritto l’ambiente del porno. Wallace partecipa agli ‘oscar’ del porno e incontra le figure che ne fanno parte, descritte dall’autore come volgari e interessate esclusivamente al guadagno, a discapito del benessere psico-fisico degli attori e delle attrici. I limiti della violenza sono continuamente infranti anche e soprattutto per mantenere alto il livello di spettatorialità e di ‘inaccettabilità’ che rende il porno uno specchio delle pulsioni dei fruitori.
Successivamente ho volto l’attenzione ad alcuni racconti della raccolta ‘Brevi interviste con uomini schifosi’ e ho sottolineato come anche nella fiction i problemi del potere e della sessualizzazione di diseguaglianze siano cari a Wallace. L’autore, infatti, costruisce i personaggi degli ‘uomini schifosi’ proprio su questo modello: i protagonisti dei racconti e delle interviste sono uomini comuni, indizio che Wallace fornisce per comprendere quanto la misoginia e il solipsismo siano radicati e congeniti. Ognuno dei personaggi presentati prova piacere, gode e si masturba nel sentirsi superiore all’altro e, soprattutto, alle donne.
Passando a Roberto Bolano, ho scelto prima alcuni episodi per così dire ‘minori’ della sua opera di fiction, cioè il racconto Joanna Silvestri che presenta la storia di una pornostar e poi il romanzo ‘Stella distante’ in cui la ricerca e il mistero sono alimentati dalle azioni grottesche di un poeta-sadico avanguardista secondo il quale, appunto, gli omicidi di giovani donne sono esempi di arte. Infine, ho concentrato la mia attenzione sulla pornografia presente in 2666, la grande ultima opera dell’autore cileno, in cui è presente un approccio al potere e al sesso estremamente violento, non solo nei casi degli omicidi di donne, ma a parer mio anche nel rapporto ‘vampiresco’ che sussiste tra i personaggi dei critici letterari.
Da queste analisi emerge l’importanza delle scelte rappresentazionali degli autori, in tutti gli esempi studiati, sia di Wallace sia di Bolano, il lettore che si approccia alla pornografia si sente quantomeno scomodo e inquieto, e riesce così a notare le varie ingiustizie sociali e la violenza che, nel porno mainstream e non solo, vengono normalizzate e impediscono così l’evoluzione di discussioni in merito alle pari opportunità.

Like any millennial worth their salt-and-pepper avocado toast, you must know your way around Google and probably also know about the porn "rule" here on the internet - if you have ever had a sudden thought about it, someone's made porn about it. In the digital age, we can get whatever our genitals desire at the swipe of a touchscreen. There's nothing we can't wank to. Armed with enough lube, you can while away the weekend jerking off to the bounty that awaits you on your favorite porn sites. But how many rounds are too many?

The effect of pornography on the spectator is a particularly contentious issue. Yet pornography comes in many forms, and sexually explicit media cannot be dismissed as a monolithic medium that offers no value. Indeed, post-porn is dissident pornographic representation that subverts, critiques, and shatters normative codes. Post-porn texts are a contemporary rewriting of traditional pornographic tropes – by drawing on queerfeminist theory and practice, post-porn artists experiment and create their own sexually explicit artistic content. This dissertation argues for an acknowledgement of the sociocultural value of post-porn by analysing the French documentary film Mutantes (Féminisme Porno Punk), which offers an overview of post-porn, and by drawing on Barthes’s framework on plaisir and jouissance as a way of theorising post-porn spectatorship. Through textual analysis of the parodic and aggressive-defensive postporn portrayed in Mutantes, we can see the various ways in which post-porn subverts socio-cultural norms. This multifarious sexually explicit media also disrupts assumptions about what constitutes pornography (and art), and forces the spectator to question their own subjectivity. Indeed, by shattering normative codes, post-porn texts invite a spectatorship of jouissance – they disturb our sensibilities, encourage contradiction, and subvert our assumptions.

This study explores the ‘irrationalities’ of deep ecology activism in the context of radical environmentalism
by using the empirical example of ecoporn. Fuck For Forest is an environmental Non-Governmental
Organisation which undertakes fund-raising for re-forestation and forest protection by means of
pornography. Following twelve months of ethnographic fieldwork, this study presents first research results
on a radical environmental project which does not promote democratic and established procedures for
protecting Nature but, instead, promotes the naked human body and human sexuality. Similar to other
deep ecologist projects, Fuck For Forest aims at socio-ecological change by non-violent means. But, distinct
from most deep ecologist projects, Fuck For Forest focuses on sexuality as a universal force of life and
promotes Nature protection in connection with human body liberation from contemporary forms of sexual
and body commercialism. While critics of deep ecology blame the mismatch between aims and means in
radical environmentalism in general, and in deep ecology in particular, this study shows how deviations
from conventional forms of protest produce unforeseen political pathways for attaining environmental
protection.

On the internet, it's easier to find a screed about why you need to give up porn or why it's ruining our kids, our relationships, and our lives than it is to read about potential benefits of porn. You can blame almost anything on porn, from the shortening of our attention spans to the rising divorce rates. Most recently, Rep. Diane Black (R-Tenn.) called pornography a "root cause" of school shootings.

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

Researching Sex and Sexualities
University of Sussex 8-9th May 2015
Anna Madill for METHODOLOGIES STRAND

Abstract: Rotten girl on rotten girl: Boys’ Love ‘research’

‘Fujoshi’ (rotten girl) is a derogatory Japanese term for female fans of homoerotic manga and anime in the genre know as Boys’ Love (BL). BL is a global phenomenon and, overlapping with the male-male slash community, one of the largest, female-oriented erotic subcultures. I have underway, what is already, the biggest survey of the Anglophone fandom (https://leeds.onlinesurveys.ac.uk/blfandomsurvey) and have, so far, completed around 12 face-to-face and 30 e-mail interviews. This is the first project I have conducted on sexually explicit material and, although I consider myself to be a fujoshi, I am not, otherwise, a user of pornography/sexually explicit material. In fact, this research has presented a huge challenge to me in terms of becoming more comfortable discussing sexual topics and, even more personally, in making my own investment in MxM public. This has meant dealing with feelings of embarrassment and shame, but also of relief in finding and communicating with other women who have a similar erotic fantasy life. However, the project has also made me feel, at times, frankly paranoid because I have been afraid that my BL may contravene UK prohibited images of children legislation (it doesn’t!). What does BL represent for me that I am willing to put myself through this, spend most of my spare time on it, and, hence, is it really ‘research’?

Biography
Anna Madill is Chair in Qualitative Inquiry and Deputy Head of the School of Psychology, University of Leeds, and member of the university Centre for Interdisciplinary Gender Studies. She is Co-Founder and former Chair (2008-11) of the British Psychological Society Qualitative Methods in Psychology Section and is Associated Editor of the British Journal of Clinical Psychology. Anna received British Academy funding (2011-2013) for ‘Understanding Japanese Boys' Love manga from a UK perspective’ from which she has three book chapters in press, made 12 conference presentations (including a keynote) and many other presentations to academics and the public, and, in relation to which, she has been consulted by the BBC.

https://youtu.be/e1_fp4zLsNA

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

https://books.google.co.uk/books?hl=en&lr=&id=lmqkCgAAQBAJ&oi=fnd&pg=PT12&ots=iuhaL-_qAe&sig=C2__T-Hls9npEtC183hOdvwTHhA#v=onepage&q&f=false

Boys’ Love (BL) is a genre of Japanese manga portraying romantic and sexual relationships between, sometimes controversially, young men. It is largely produced and consumed by young women and is available in translation worldwide. The English legal context relevant to BL is outlined, with emphasis on Prohibited Images of Children legislation (Section 63 Criminal Justice and Immigration Act 2008), and three readings of a BL yonkoma are offered: paedophilic, satirical, and queer. It is argued that the young female readers of BL problematise the legislative invitation to a single, literal, paedophilic reading of suspicious texts and the position that the intended audience is unimportant. It is concluded to be important to understand how intelligible, meaningful, non-paedophilic frames are available for reading non-realistic, erotic texts involving visually young characters and that BL with sexual content partakes of a distinct imaginary space that might be termed explicit romance or sensitive pornography.

Este trabalho tem como objetivo analisar a performance na cena-ação da produção pornográfica online do fetiche da podolatria masculina. Desse modo, utilizei a etnografia de tela como recurso metodológico, ao lado do diário de campo diante dos pontos potenciais investigados e da observação dos planos cinematográficos do vídeo, no sentido de me envolver nas imagens do fetiche em três sites de conteúdo pornográfico online: My Friends Feet, Str8crushFeet e Lads Feet. Assim, diante de uma perspectiva foucaultiana da erotização do poder e dessexualização do prazer, analiso que as narrativas pornográficas podem tecer construções do gênero tido como masculino por meio das estéticas do grotesco e das eróticas do nojo, sobretudo, nas lógicas do fetiche entre a dominação e a submissão entre os homens diante do ato de adorar os pés. Ao analisar as cenas do recorte de três vídeos disponíveis nos sites, considero o fetiche podolatria a partir das narrativas do excesso entre a dimensão coreográfica, confessional e protética.

Daniel Mundo, docente-investigador de la Facultad de Ciencias Sociales de la UBA, reúne aquí una serie de ensayos sobre este tema polémica para una significativa parte de la academia y la sociedad, que se debate entre la fascinación, el miedo a la adicción y la autocensura ante la proliferación de contenidos XXX. Variaciones sobre el porno seduce desde su tema y estructura (capítulos breves dispuestos en una cuidada edición) y una prosa ágil, más dinámica y desacartonada que la amplia mayoría de textos académicos. Esto, sumado a que interpela desde un tema que nos toca a todos, permite su lectura en pocos días, fenómeno inusual ante tantos estímulos digitales de la cultura contemporánea.

Writing-in-trance. Solitude has never been so inhabited and populated as in the last years. A picture of an anonymous street sign hangs on the wall. It says in Portuguese, “Some things only leave us [or can be expressed] through writing,” referring to the time it takes for bodily experiences to be turned into words. Writing is an exercise of giving, healing, justice, and sometimes a way to exorcise memories. [...]

Este artigo analisa a relação entre corpo, mídia e sexo no século xxi. Traçando um breve panorama da relação entre tecnologias comunicativas e práticas sexuais, observaremos como os usos de diferentes mídias conformaram determinadas formas de se relacionar com o corpo nu e com o sexo. Se a pornografia consumida nos meios de comunicação de massa (revista, cinema, VHS, etc.) constituiu aquilo que Preciado (2010) intitulou “pornotopia”, concluirei, a partir da análise de três casos paradigmáticos escolhidos por
mim, que os dispositivos digitais (webcam, smartphone, gadget, etc.) têm constituído
uma espécie de “atopia sexual”, propiciando o surgimento de novas formas de sentir ao desconectar a sexualidade dos imperativos espaciais, temporais e, até mesmo, corporais.

Pornography is problematic. And yet, pornography’s influence penetrates society and our way of thinking and interacting with sex. Classifying the distinction between what type of pornography can be considered containing artistic merit and what type of pornography lacks artistic merit continues to ignite discussion surrounding the validity of pornography. Gloria Steinem once stated that pornography was crude but that erotica bore an intellectual difference.  Andrea Dworkin, the author of Pornography: Men Possessing Women, held the argument that pornography by any name is still pornography, and therefore destructive.  Understanding this difference remains a frequent topic within the of discourse of pornography. How, where, and when does pornography transcend into art? The examples of when porn becomes art or when art becomes porn exist within institutions, notably, museums. Whether or not the art works merit the recognition of the art world is a separate discussion; the societal impact and acknowledgement is a crucial factor in deciding how pornography should be addressed in the public domain. The purpose of this thesis is not to add to the debate regarding the validity of pornography, but rather to critically engage with the medium as a site of study that has contributed to the production of art that is activist in nature under the frame of the performance of sex: post-pornography.

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

Little Red Riding Hood is one of the best known fairy tales and its central villain - the wolf - a potent and recurring motif in contemporary popular culture, including Japanese manga. I am studying from a UK perspective a cluster of erotic manga genres (Boys’ Love or ‘BL’) which are produced and consumed predominantly by young women. The sine qua non of BL is the portrayal of romantic and sexual relationships between young men. Manga often presents characters as human-animal hybrids. Add to this the explicitly sexual nature of BL content, its homoerotic and transgressive themes, and the fact that it is created for and by young women, BL is interpretable as a site within which women are attempting to develop new ways of engaging with male sexuality. It is indicative of their psychological potency that European fairy tale motifs have been used as a vehicle in this project. The research question I will explore is: What happens when the fairy tale motif of ‘the girl and the wolf’ – that is, of the female’s initiation into the dangerous aspects of male sexuality – is queered? I will explore how this is presented in contemporary commercial BL manga, the readings this makes available, and the ways this might function for modern women. The explicit eroticism of BL invites a psychoanalytic interpretative lens. Specifically, the disjunction between the gender of the protagonists and audience makes pertinent a Kleinian understanding of defensive splitting and of projective identification. However, a purely psychoanalytic reading is possibly too individualistic and potentially pathologising, and I will draw also on queer theory to preserve my sense that BL can be read as exploring new ways of performing heterosexuality through the use of, often visual, metaphorical slippages and defamiliarisation. I will also pay attention to social and cultural context since I am studying ‘exotic’ texts in translation which are produced in a different legislative and socio-historico nexus.

This article explores sexual and cultural practices in post-porn films, establishing the
accidents and miscalculations which gave birth to their existing forms that are of worth,
as well as its procedence, which according to Foucault refers to the body. The analysis of
Mommy is coming, 2012, produced in Berlin, which became a mecca of sexual and
queer filmmaking, shines a light on the sexual and cultural practices of the present postporn
industry. In it, as well as in the porn occupations especially of Spain and Latin
America, bodies stage the liberation, reconquest and re-sexualization of the public space
and especially of the urban space, restoring what Gayle Rubin has called urban sexual
ethnogenesis. The ruptures and dialogues with the productions of the San Francisco
feminist and lesbian sexual culture of the 1990s for the German straighland sexual
culture, of queer identity, show lives that escape coupledom, abandon culture for
subculture and romantic love for sex. The dialogues among recent post-porn
productions, and the films Virgin Machine, 1988, and Baise-moi, of 2001, show the
potency of the interchange between the American feminist and lesbian scene and
current queer-identified productions.
Keywords:Post-porn. Feminism pró-sex. Queer.
No artigo, as práticas sexuais e culturais dos filmes pós-pornô são exploradas,
demarcando os acidentes e os maus cálculos que deram nascimento ao que deles existee tem valor, assim como sua proveniência, que, para Foucault, diz respeito ao corpo. Ofilme Mommy is coming, de 2012, produzido na meca sexual e queer que se tornou Berlim, é analisado em seus trânsitos, iluminando as práticas sexuais e culturais da maquinaria pós-pornô atual. Nele, assim como nas ocupações pornô, especialmente na Espanha e na América Latina, os corpos encenam a libertação, a reconquista e a ressexualização do espaço público e, specialmente, do espaço urbano, restaurando o que Gayle Rubin chamou de etnogênese sexual urbana. As rupturas e diálogos com as produções da cultura sexual de São Francisco, feminista e lésbica, dos anos 1990, para a cultura sexual straighland alemã, de devir queer, mostram vidas que escapam à conjugalidade, saem da cultura em direção à subcultura e do amor romântico para o sexo. Diálogos entre as produções pós-pornô recentes e os filmes Virgin Machine, de 1988, e Baise-moi, de 2001, mostram a potência dos trânsitos entre a cena feminista e lésbica norte-americana e as atuais produções marcadas pelo queer.

En este trabajo buscaremos dar cuenta de las relaciones que se establecen entre sexualidad, política y Estado en Tadeys (1983) de Osvaldo Lamborghini. Entendemos que en este texto se pone en juego toda una maquinaria biopolítica de producción de género, mediante la cual los cuerpos se “hacen”: son el resultado de una transformación, de un pasaje, de una intervención para acercarlos a un modelo; y  que la violencia del poder se representa en los cuerpos sometidos, ultrajados, oprimidos sexualmente.
También nos interesa destacar el papel jugado por los “tadeys”, seres que cuestionan el límite entre lo humano y lo inhumano, como punto de fuga, como problema para la sociedad instaurada en “La Comarca”, como otredad transformada por el Estado en “nuda vida” a partir de su conformación como pura sexualidad, puro deseo.
Finalmente nos parece importante destacar el carácter pornográfico de la obra. La maquinaria biopolítica halla en la sexualidad el material perfecto sobre el cual desplegarse. Teniendo en cuenta, además, que es ya la pornografía misma una tecnología de modificación de la subjetividad y que, en la obra de Lamborghini, asistimos a una puesta en escena de la ruptura de la supuesta “naturalidad” del sexo y a una manifestación de todas las regulaciones que entran en juego; la revelación del cuerpo como un “hecho” político, como materia moldeada por el Estado, solo parecería ser posible  a través de un tono pornográfico. Es el lenguaje pornográfico un medio eficaz, a través de su extrema literalidad, de su voluntad de decirlo todo, para descubrir y describir los mecanismos de disciplina biopolítica llevados a cabo por la maquinaria estatal. Un lenguaje que, en su propia existencia como discurso atópico, no tiene lugar de ser y  se desliza por los intersticios del espacio social, funcionando como un dispositivo de representación que visibiliza aquello que no debería mostrarse, que transforma en público aquello que debería quedar en el ámbito de lo privado.

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

Abstract: Boys’ Love (BL) is a genre of manga which portrays sexual and romantic relationships between young, often adolescent, men. Perhaps surprisingly, most BL mangaka (artist-authors) are female and most consumers are teenage girls and young women. However, despite a renowned artistic pedigree and global associated youth subculture - consisting of one of the most sexually-benign demographics - BL distributors and audience are vulnerable to prosecution under recent English prohibited images of children legislation (Coroners and Justice Act 2009). English child pornography laws have become increasingly stringent. Legislation was first against production and dealing and then extended also to possession; moved from a narrow, actual-age-based definition of ‘child’ to a wider, impression-of-age-based one; and expanded the type of prohibited image from the photographic to include also free-hand drawings of fantasy encounters which might involve imaginary beings. This paper argues that BL problematises key assumptions of the prohibited images of children legislation in that the law invites a literal, and privileges a singular, reading of such fantasy, erotic, visual texts. The legislation invites a literal reading through implying that given criteria coherent for the assessment of representational texts (e.g., photographs of real children) can be applied also to non-representational texts (i.e., fantasy drawings): specifically, that protagonist age can, within the ordinary everyday parameters of impression, be determined but also that a series of problematic foci (genitals or anal region) and acts can be described void of context and awarded moral status similar to that of the real. Perhaps even more problematic, the legislation invites a singular reading of texts through priming a search for the specified and reified elements by a defined audience (magistrates, District Judge, or jury) under the remit that a certain constellation may warrant prohibition. That is, it alerts hegemonically-empowered or hegemonically-representational groups to a paedophilic reading and disavows other possible readings as irrelevant if these groups can find that reading. Importantly, as an interpretative community, BL fans’ own reading practices and understanding of genre conventions are discounted. Hence, paradoxically, a demographic the legislation is designed to protect (young people) is now, under its auspices, potentially vulnerable to prosecution through their BL fanship.