Shibari: An Art Problem, Pt. 2

The one means by which prestige may be said to be more objectively endowed is by way of skilled and acknowledged photographers who have chosen certain shibari stylists for the development of their own portfolios. Whether or not being photographed by a recognized photographer is in itself enough to merit elevation in the eyes of one’s peers is open to dispute. A photographer, whatever their skills may be with respect to their own art, may not have any good idea of what constitutes skill with rope. Many fine photographs have been taken of dangerously sloppy rope work. Still, to the discerning eye there is much available in the play between partners and rope. In Japan, while the title nawashi appears to be conferrable by those who already have it, a convenient means of discovering who might be a worthy heir to the title would be to stumble upon a photographic record of well-done rigging. Self-proclaimed nawashi proliferate in America and Europe where the term is perhaps better understood as a role designation than as a tribute. Still, any title would be useless in a vacuum; nawashi in the West entitle themselves most often with reference to splendidly detailed photos of their own work and are as often vigorous in defense of their titles, so much so that at times one could be persuaded that Nawashist is the title being defended.

Cheekiness aside, I want to note that this way of developing a naming system in an inchoate art form is not without precedent. ‘Nawashi’ is passing into the history of doing rope bondage in much the same way as ‘tea master’ came to be applied in Japan to adept practitioners of that ceremony. While it is possible to study tea in a classroom setting, the ‘art’ of tea is thought to inhere in the ceremony alone, and then only as executed by one exhaustively steeped in its refinements and subtleties by discipline and time with tea. I will return to ‘teaism’ further along as I consider its role in the Japanese aesthetic sensibility, but for now we might allow that in fairness nawashi are at the point tea masters were thirteen hundred years ago when, according to Kakuzo Okakura, the poet Lu Wu became the first ‘apostle’ of tea when he inscribed his C’ha Ching (The Holy Book of Tea) during the T’ang Dynasty in China.¹

While there are innumerable volumes on the tying of knots, the working properties of rope, funicular physics and the like, there is no code, manifesto, convention, lexicon or other guide to the mystery of rope as an ancient aesthetic technology, as a metaphor for important aspects of human existence, or in its spiritual dimension as a means of sweetening the tragedy, noted throughout philosophy, of having been born. Throughout human history most ennobled pursuits have started out as commonplaces, often deemed vulgar, squalid or even misanthropic in the era of their origin. Societies naturally resist the valorization of the conventionally despised in the beginning stages of transformation from pariah to observance; everyone can think of a notion thought abhorrent in the past and a trifle today.²

There is quite a bit available to loosely support the idea that shibari is an aesthetic pursuit, but to the best of my knowledge no one has ever undertaken to account for shibari as legitimate art, meaning art qua art, or when we use ‘art’ to fairly describe anything. The acknowledgment of shibari as art even among some of its most passionate adherents is thin. The overwhelming number of lovers who employ some form of bondage regularly, rigorously or dilettantishly, using rope or some other means, think more of their perversity as a pleasantly distinguishing mark of their sexuality than as something they loosen upon their own sensibilities or that of the wider world with any sort of contemplative or socially redeeming value. I will be considering art generally as a contemplative pursuit later in this essay, as well as the possibility that contemplative occupations are primary to our conscious lives. Coming to a satisfactory accounting for shibari as art requires my explaining my position on art qua art, be it shibari or any other kind; I will, in other words, be outlining a general ontology of art not only merely to categorize shibari as such, but to tie in many another devalued cultural artifact left for dead by the artworld. The goal will be less to mold shibari into an ontology of art than to blow the ontology of art open and outward such that it engulfs shibari, to be inclusive in a totalizing way of shibari and the whole of the artifactual world.

1 Kakuzo Okakura, The Book of Tea (New York: Dover, 1964), p. 12.

2 Or perhaps a trifle in the past and abhorrent today; take, for example, the ancient custom among Greek men noted in Plato’s Symposium of taking on young boys as their protégées and lovers.

Shibari: An Art Problem, Pt. 1

Exerpted from a much longer essay concerning problems of art-making. Because bondage is a convenient foil for my aesthetic explorations, it's often convenient for me to post bits of my perambulations here to see what sticks. I wish I could say that they will be in some sort of order (as though this time were any different form any other), but like the thoughts underlying them they are more likely to partial, discontinuous and maybe a bit scattered. I find working ideas out in a semi-public forum to be a tonic to the process, and when the time comes that all these fragments gain a sense of cohesion, readers of whatever monograph emerges then will be as appreciative of your patience as I am now, maybe even more so.

I lift the text straight out of MS Word, so the diacritics, footnoting, and other formatting elements translate only half well to this blog editor, but at least the information is complete. Again, apologies.

Critical comments are, as always, welcome.

***

Rope bondage in the Japanese style is popularly thought of by its practitioners in Japan and elsewhere as an art form, but as such it is practically unknown by the artworld, meaning bondage has never been defined or validated by some agency appointed the task of positioning creative cultural artifacts. People who “do rope” often go by unusual titles (such as nawashi, dorei etc.) intended to confer some manner of special virtue in the creation of the living tableaus that characterize the forms and practice, and which appear (in the West at least) to imply the existence of a dedicated and objective critical cadre charged with assigning such titles. In Zen Buddhist Japan, entitlement is franchised within the iemoto system, a traditional way of controlling access to intellectual information and cultural endowment.¹ Entitlement designating skill with rope is something that can neither be claimed nor striven for; the term nawashi (or kinbakushi, or whatever the latest terminal designation may be) is like a one-word Zen koan, its meaning a product of intuition rather than reason.

I use the term living tableaus above because a case is sometimes made for bondage referring to the tying of inanimate objects (e.g., Barbie dolls, boutique display windows, etc.). I will be limiting my appreciation of bondage in this essay as signifying rope applied to sentient persons, specifically consenting adult sentient persons. Whether or not such adults themselves are doing the describing, Japanese bondage scenes employ a unique vocabulary to describe their forms and elements, and while these appear to be largely and uncritically accepted by rope connoisseurs in practice, thoughtful observers allow that most of the jargon is precisely that, jargon, being often of dubious provenance or etymology, in either Japanese or other languages. This aesthetic obscurantism not only advances the material interests of the iemoto but preserves the mystique of Japanese bondage, imbuing it with an ineffable quality that should be properly viewed as consistent with Zen predicates and teleology, and desirable in and of itself.

Shibari has become the de facto term denoting rope restraint in the Japanese style. Interestingly, according to well-informed sources working in Japan, erotic and artistic application of rope to a body for purposes of restraint goes as often by the English "bondage" as by shibari (or any of its variations).² The naming issue gets loopier still when we look at the etymology of the English "bondage". In its erotic (and as well for our present purpose, artistic) calibration bondage is a popular appropriation of a term referring to ‘serfdom’ or ‘slavery’ according to Webster’s Unabridged Dictionary. Only very lately has it come to be associated with sadomasochistic technique, specifically physical restraint. Etymologically the word is closer at its root to duty or obligation, rather than anything having to do with art or eroticism. Thus does Somerset Maugham’s Of Human Bondage have more to do with social restraint than the other kind (although problems of art-making are the leit motif of that book, and at the thematic core of the author's The Moon and Sixpence. Maugham had a thing for the Siamese-twinning of beauty and restraint). While many of the foremost Japanese exponents of shibari use the term liberally, it has only sketchy currency in Japan, and then perhaps as mostly a marketing hook by which to attract westerners keen to believe that their fancy has a bit of the exotic about it.³ There are no qualified critical corps, organized schools of thought nor a collecting public by which one might objectively measure one’s advance to the rank of nawashi. As in the case of other aspects of the ancient iemoto system, it’s enough that an owner of the title grant it to another to give it meaning.



¹ Leonard Koren summarizes the iemoto concept beautifully and concisely in his Wabi-Sabi for Artists, Designers, Poets and Philosophers (Stonebridge, Berkeley, 1994): “Primary text sources, artifacts and other materials needed for scholarly research are often controlled by iemoto families who, as in Zen Buddhism, insist that such essential information be shared only with those of their choosing... a vital part of iemoto proprietary intellectual property was not to be elucidated – given away – unless in exchange for money of favors.”

²In the 1974 Masaru Konuma film Wife to be Sacrificed , screenwriter Yôzô Tanaka has the eponymous wife (Tani Naomi) utter “shibatte” in begging her lover to tie her up. Shibari is an appropriated noun form of the verb shibaru (see www.asanawa.com).

^{3Midori, a Japanese-American lecturer and presenter on bondage theory and technique, has suggested that the mania among western rope bondage connoisseurs for Japanese rope bondage is similar to the Orientalism of the Victorian era with its fascination for the ‘otherness’ of eastern cultures.}

Separated at Birth? (Pt. 3)

The eastern tradition, being steeped in its own myth systems and of a more contemplative orientation generally (as opposed to idealized (in the Platonic sense) or rule-driven, like in the west of at least the last several millennia), does not deviate, I think, from the general outline I’ve given thus far. In the east submission is essentially a feminine, Dionysian narrative, but the tradition in bondage in the east proceeds less from an intuition of sex as a biological imperative and more as a means of transcendence. We may look to the Kama Sutra for a conspectus of the eastern belief in the mystical virtue of the erotic, but erotic bondage gives us a unique kind of on-demand system for inducing transcendent states. The Japanese in particular have developed an architectonic for bondage that is observant of several eastern modes of mystical attainment - notably yoga, the hatha variation of which imparts several asanas to the standard kinbaku kamae. I won’t go so far as to insist that Japanese bondage is single-mindedly about seeking communion with the godhead, but I do believe that impulse to be one of the foundational stimuli for its emergence from the contemplatively derived martial disciplines preceding it, and one of its principle distinctions from western bondage.

One observes in stock kinbaku imagery a manner of submission, a going into the experience, as it were, that is far less characteristic of the western idiom, which itself traditionally emphasizes the resistance of the person being tied. The western “damsel’s” situation is being imposed from without; the agency of her helplessness is external and she usually goes along only reluctantly. She is, in a broader narrative sense, not responsible for her tribulations - she is a victim. One need not go far into either ancient or modern myth systems in the west to see the subjugation of the mortal individual to willful cosmic forces, often personified, which act pointedly on mortal posterity. The problem of predestination versus free will comes up so reliably in the west because we insist upon thinking of our existence as individuated selves, free agents in other words. There is very little impetus to endorse willing submission in western thought systems; it defies a long and acculturated tradition of separation - from God and from each other. Submission in the west is, I would suggest, a radical and even subversive act. If you’re going to give in, best not to be too obvious about it.

The idea of the monad, or the unbroken continuity between apparently individuated phenomena is axiomatic to Buddhist thought since at least the time of Bodhidharma (about 500AD), and well developed in other eastern traditions. Consider the Hindu idea of the veil of Maya, before which we labor with the problem of duality. Behind the veil, there is no separation and duality is revealed to be an illusion. Whereas the separation from ultimate principles (the “fall from grace”) is believed to be a fact in western ontologies, eastern disciplines stress only the illusion of separation overlaying the fact of unity. To the eastern mind, the same energy flows through all apparently individuated things, as, for example, revealed in the meridian systems of oriental medicine. Open, boxy, and irregular kinbaku architecture intentionally plays with these meridians, with the crossing and rearrangement of energies and the possibility thereby of a look into ultimate principles. That it becomes in the making highly erotic only compounds its force and potentials. The classic M-jo in the Japanese tradition thus goes quite willingly into her restraint and, while not necessarily embracing her suffering, accepts it as consistent with the pain of illusion such as we know on this side of the veil. Although the Shinto tradition wedded to Zen does not say much about the antecedent Hindu concept of Maya, it does predicate satori as the endpoint of suffering wherein the truth of unity is made manifest to the spirit.

Of course, all of this is available to the western bondage practitioner too, and it could easily be said that the rope top is performing a kind of priestly function in any case. The overwhelming emphasis on resistance to being restrained in the popular conception of bondage in the west, as opposed to ready yielding characterizing the eastern conception, is, I think, consistent with much larger mytho-poetic, and hence social, constructs inhering in both. It may be difficult to describe what the salient differences are between eastern and western traditions in bondage (I mean, hands get tied behind the back in both cases), but it becomes easier when we couch our interest more broadly in the two world views.

Separated at Birth? (Pt. 2)

I mimicked the Klaw style (there being no real technique) for a little while before stumbling upon John “Willie” Coutts and his Gwendolyn drawings. In Willie I think western bondage finds its first true prophet. Willie’s style was not only founded on the same sort of artfully sculpted 40s - 50s Monroe curves as Klaw, but he laced those curves impossibly tightly, drawing in the waist, pulling back the elbows, pushing out the breast, lifting and separating, as it were, and elongating with stiff, angular posing and sky-high heels. In addition, Willie was shameless in his use of overwhelming and distorting gags, which displace visual and aural cues to the wearer’s personality revealed in facial and verbal gesture. I see this as enhancing the quality of mystery associated with woman, the mystery of creation, of begetting, and the messy business of generating life (a thesis elaborated here). Willie’s work was all about the reduction of the individual, particular woman, and the elevation of capital W Woman. In the pages of his Bizarre magazine, he was wont to allow occasionally that the imposition of vigorous, calculated bondage was the only cure for that hopeless intimidation felt by modern man confronted with the withering power of Woman. If he were read in philosophy (and I doubt he was – he was first an intuitive and second a drunk), Willie would probably have agreed with Nietzsche’s association of woman with the chaotic, fecund and creative Greek god Dionysus, who was balanced by the tempering, masculine-associated regulatory and managerial Apollo.

There are many theories on how and why bondage, and in particular its identifiable stylings, both eastern and western, gains formal status in the 20th century. Some posit that while photography played a large role in the break out into popular consciousness, binding for erotic effect has a far older history. The consensus view among aficionados seems to be that the Japanese vernacular, emerging from 15th century martial hojojitsu into what we in the west call shibari or kinbaku today, dates in its erotic manifestation to the early 19th century, but there evidence to this effect is largely apocryphal. Following Itoh Seiyu's drawings from SM-inflected kabuki dramas, the form seems fairly well-evolved when erotic kinbaku images start showing up in Japan around the late 1920s and early 1930s, right about the same time the delicate SM drawings of Carlo, Herric and Rene Giffey that influenced Willie came out in the Parisian pulps of the era. Willie may also have stumbled upon Japanese bondage imagery while exiled in Australia, but his letters tell us that in 1937 it was Carlo’s work that first came to his attention while living in Sydney†.

I’d like to speculate here that the emergence of bondage as erotic on a wider scale in both east and west inheres in the culturally parallel rush to modernity. Europe and America were already deeply involved in the shrinking of distance and the building of metropolises by the turn of the 20th c., and the Japanese had mounted their own juggernaut into modernity upon Commodore Matthew Perry’s 1853 appearance in Edo (now Tokyo) Bay and the concomitant demise of the Shogunate. With the primary evils of death, pestilence and even discomfort in retreat, humans are no less biological despite the Apollonian lever being applied to capricious Dionysian nature; taming her, predicting her behaviors, defending against her unceasing demand that humans reproduce themselves - one of the greatest practical and metaphorical examples of this overcoming of nature is the birth control pill. Besieged, our essential biology adopts a guerrilla strategy (perversity) since the civilized, sanitary and organized world legislates only a meager freedom to the biological idea of nature. My western mind sees bondage as I think Willie got it, as a splendid and artful presentation to the several senses of Woman, capital W woman, the principle of creation, available and vulnerable, but also revealed in utterly unambiguous mythic form, and emphasizing mythic tensions. That’s the power of myth to my thinking: it gets us to perform on our biological imperatives.

To be continued.

† The Art of John Willie; Sophisticated Bondage. Monograph, edited by Stefano Piselli, Eric Stanton, et al. Glittering Images, 1989.

Separated at Birth?

(Excerpted from a 2002 public lecture / demonstration)

Thank you all for coming, and thanks also to A. for the invitation to speak tonight, and for the request months ago to get her up off the ground.

A. and I have been playing on and off with rope for several years, and have only recently made the move into suspension. We hope to show you a little trick we’ve practiced later on - a single leg inverted suspension - among the more difficult suspended poses to both rig safely and to hold for even a small length of time. I’ll make a few points in so doing about safely managing the technical aspects of such a scene, but frankly, suspended bondage, like rock climbing, is a high risk activity under the best of circumstances, so I’m obliged to apply a disclaimer here and say that I don’t intend to teach you a thing about tying somebody and hanging them up. Not a thing. Suspension bondage is best learned slowly and steadily over time with a tough, understanding partner and competent instruction; not, in my opinion, by means of public demonstrations such as you are to see here tonight.

My intent is to show you what’s possible and perhaps what you can do with what’s possible, rather than impart specific information on how it’s possible. The technique and dynamic between A. and myself are, as you might imagine, unique to us, and in any case, we may not pull off what we intend tonight, so anything you see here is very likely completely useless to the success of your own rope scenes. That said, please don’t hesitate to ask questions afterward about what you will have seen me do (or not do) tonight. Also, I’d be happy to talk later about the little précis I’d like to present now.

This presentation is about to take a philosophical turn, perhaps for the worse, and I’ll be interested to see how many are standing at the end of it. At the very least you’re about to learn that I’m kinky for more than just rope. Suspension, while not unique to eastern bondage and its aesthetic, is highly identified with it. The working properties of hemp and jute rope, which are common in eastern practice, facilitate picking partners up in order to enhance their helplessness. None of those considerations preclude enacting the delicate airborne forms common to Japanese-style bondage in the western style, but such crossover is seldom seen, a factor in leading observers to speak of wide differences between east and west. I’d like to take the first part of this presentation to put across a few ideas I have about that difference.

There is quite a lot of discussion of how or if east meets west on various online groups where rope geeks like myself hang out, and I’ll be drawing a bit here from other’s ruminations on the subject, but the upshot of what I’m about to say is pretty much my own and I’m by no means done thinking about it. If you disagree, and I hope you’ll be critical, I would appreciate hearing about it.

Foregoing even a cursory consideration of gender identity and its attendant politics, I make the following observations from the standpoint of the one identity about which I can speak with any authority, that being my own. All of the assertions that I’m about to make proceed from that basic prejudice, and I hope you’ll all forgive where I run afoul of any other prejudices in the room.

Having played with gender queer, classic queer and straight partners of both genders, my central orientation has consistently sought out an essential straight feminine trait; that which is hormonally responsive to me as a straight male and unconditioned by orientation or gender. Of course, on many occasions that hormonal energy has been absent, but such vacancies do not necessarily result in disappointing scenes, and often only further affirm my own proclivity. I like to recall that even among those people I’ve tied who were not necessarily kinky, who were perhaps just doing a modeling job, or in a transitional phase into which rope fit or helped, that expressions of that “eternal feminine” which captivates me could (and often did) come out.

I began my formal explorations in bondage well over twenty years ago with the person who is still my primary partner and my wife. I recall quite clearly the early compulsion to envelop and overwhelm her, and to have the result of that be the emphasizing of her sexual availability. Although I backed away from the impulse initially, it was not too long after those inchoate stirrings that rope entered our lives. Even in my first crude and ineffectual efforts to get her restrained, I saw her in a wholly new light, wherein her curves revealed themselves ever more fully and her yielding was ever more apparent. That I was at times somewhat oblivious to the yielding part may have helped me concentrate on pure technique with greater alacrity, but suffice it say that the actual application of rope was all about visually dramatizing the soft, giving, ovoid and fleshly charms that make her to me woman with a capital W.

Although I was aware of bondage porn by that time, I prissily steered a wide path around it for years despite its ready availability close to home. Thus, the only information I had to go on at that time (or, really, wished to go on), this being the early 1980s, were Irving Klaw’s extraordinary pictures of Bettie Page and her cohort often ineptly tied for his Movie Star News. My wife will remember the pilgrimage she and I took to the tatty storefront, meeting Irving’s sister Paula, who ran the shop at that time, and our coming away with a catalog of the tiny images which MSN would sell to customers as prints. Having turned my nose up at Bondage Life, Lyden, HOM and the other image peddlers, those vague, tiny Klaw images were my first tutorial in tying up comely lasses.

Riffing on Brent Scott Riffing on Socrates (was Meeting with BS)

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Fine Art 105

Well, all right.

I've been on a bit of a tear about political miscrescence lately, and perhaps struggling a bit to bring these into line with the subject of this journal. This has been noted to me by more than one correspondent in recent weeks.

"...well and good, but I don't usually think to go to RSE as I read the Times, and it's good that you try but it doesn't work the other way round any better."

I appreciate that LS, so I'll stick scrupulously to rope this week. Well, that and maybe a dash of fine art.

Many people have commented over the months on the little image to the right of this post - "Puzzle Piece". That was a photo that was planned to happen with a particular photographer a lot sooner than it actually did, but what came into being in its stead are several excellent artistic and personal connections I now enjoy, including with my co-conspirator in "Puzzle Piece", the real subject of that image, of whom you see a little more than half (to guard her identity). However, the photographer, Michele Serchuk, and I had worked together before and come up with some beautiful and unlikely successes in unusually difficult locations. It seems the last thing Michele and I will ever do is shoot anything under well-controlled circumstances, but much good in my life has come of the initial impetus to get dirty in front of her lens.

I was already well-acquainted with Michele's work when I heard from a then-new friend I'd met at BondCon (back when that event was being held in NYC) and with whom I'd played several times, that Michele was interested in photographing us doing what we were still figuring out we liked to do together. The location would be a crumbling truck garage in the meatpacking district (now desperately chic, but then prelapsarian); suspension points would be what one could scrounge, and motor oil was guaranteed to be pretty much on everything. Several of these images have become calling cards of mine since, and this next one evinces especially well the spirit I like to bring to all such proceedings:

Michele shoots medium format on very high speed film (ASA 4000+) to get the splendid granular detailing (always poorly reproduced on the Web) using available light. The picture above was made with the help of a small clearstory admitting southern light - I could barely see anything myself and discovered thereby for the first time that tying in the dark is good fun.

The images below were made in a stairwell with what came in through a single skylight. There are many better examples available at her website. In the meantime, however, the following are shots from that first session for which I preserve some serious affinity.


With thanks to my dear LH.

Fine Art 104

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Meeting With BS, Part 5

Props go to M. Yu at The Jade Gate for breaking the news of Barbara Bell and Anna Lorentzon's documentary on the Insex phenomenon, Graphic Sexual Horror.

In previous postings on this subject I have been circumspect regarding Barbara's identity and especially that of Insex's resident mad creative, pd, or Brent Scott (BS). With the release of GSH I can relax. Better still, I can share more openly.



When I returned to NYC after sojourning here and there I fell upon the notes I'd made about meeting Brent and my impressions of his peculiar genius, much of which comprise my extant ramblings here on the subject. In them were particulars on the TransHudson Gallery and its proprietor in 1995, whom I don't believe is mentioned in the GSH film, and is certainly not (yet) on the GSH website, so I'll refer to him simply as J. A little filtering in Google netted me a small number of contacts to dial up.

On the second try I landed the very person I'd been seeking, who in reply was polite and quite clear that he had been the one to book Brent at the gallery. He remembered the show as short-lived but utterly fascinating and almost certainly doomed to failure owing to the bombast of its artistic intent and the expense of mounting it. He noted to me several pieces of memorabilia in his possession, and would be happy to show any and all.

We met shortly thereafter and I spent a very pleasant afternoon comparing notes and discovering a fellow patron of the arts, one whose constitutional inclinations diverged sharply from the Brent Scott vision, but who nonetheless recognized profound talent when it landed in front of him. J. spent a ramshackle career from the 70s to the 90s as an impressario, bon vivant and, from the looks of his home decor, a groovy dresser.

I came away from that meeting with not only a better appreciation of Brent Scott before the fall, but pleased to have made the acquaintance of a fellow dilettante, a non-artist with an gnawing, insatiable need to be mixed up with the creative moment. J. sent me along with a stack of aging VHS tapes (including Brent's personal document of man.INFESTation), a copy of the show poster (posted previously) and other records of the event, all of which pointed to Brent's aspirations being not at all dissimilar at the time of man.INFESTation to those of all artists I have known.

Owing to the sloppily laid plans of various reactionary authorities, the creative history of Brent Scott is inscribed as a short, intense record of revolutions, against respectable bourgeois propriety right up the demonization scale to, literally, imputations of terrorism. In 2005, as you'll learn when you see GSH, Insex was forced to close under threat of prosecution for violations of the Patriot Act, namely suspicion of bagging money for terrorist organizations. Thus did Insex become a casualty of our era's cheif mania: Cynical political manipulation. Brent may not have been sentenced to drink the hemlock, but I don't think the parallels between his case and that of the great ancient corruptor of youth are at all lost on him:

"If you won't allow me to teach your children, then I will corrupt them."

Brent Scott, riffing on Socrates

In matters cultural it is in the nature of governments to work at 180 degrees to the foregone conclusions of any great cultural shift. Government is always last to lead. In 1995 it was possible, if one was looking closely, to visit the future of porn, and possibly of art, in the short-lived gallery career of rejected academic Brent Scott. Within the ten year history of Insex, from its formative moment to its manufactured demise, sex would become exponentially more defused throughout culture and sadomasochistic signifiers would begin infiltrating the popular consciousness. When most BDSM was still the provenance of Farmer's Daughter BBS, through the then-experimental Vivo player Insex loosened the stopper from the full-motion dike and inaugurated the end of the passive era in media, as well as affording a first look at fearlessly expansive, deeply disturbing and displacing forms of play known previously to very few.

While I have in my own life and play gone to very few of the precincts regularly visited by Brent Scott at Insex, I'm indebted to the appaling grandeur and devastating sweep of his vision, and to his ultimate faith in the fortitude of the women (and later the men) with whom he worked. Over the years I've met many of those models and to a one they recall their visits (often multiple) to Insex as the hardest and most rewarding bondage modeling gigs they'd ever landed. When I visited, when Insex was young, the world of hard-core questers, pain-sluts and contortionists was beating a path to Big Worm Productions. The payoff for performing may indeed have scaled according to depth of ability and/or consent, but there was always an out, a safeword, so in the final analysis the bottom reserved control and the deprivations suffered were ultimately elective.

Incentivizing with bonuses to get better performance, all for the sake of selling...what? Mortgage derivatives? Credit swaps? Economy busting, life-ruining, reputation raping, history changing swindles?

No... just sex.

Seems quaint in light of the scorched earth the partisans of righteousness were engineering while they drew their long knives on Insex, habeas corpus, the Geneva Convention and The Constitution. Reactions to art have always given a clear warning that human rights are in the cross-hairs, and I don't think it overreaching to consider for a moment the history of any art labeled "degenerate" by politicians - as it was by the Nazis (the Entartete Kunst and Entartete Musik exhibitions of 1937), or, more recently in my own fair city, the pogrom against degenerate art and the NEA staged by then-mayor and former Presidential candidate Rudolf Guliani along with the right-wing minion of representatives Jesse Helms and Al D'Amato.

I bring this last example up for those who think that I am perhaps overreaching for comparing the shuttering of Insex to government demagoguery against art - the anti-NEA cabal of the late 1980s is now well understood to have been an opening salvo in the anti-gay, anti-sex war on culture by the religious right. As Insex succumbed in 2005, the economic, cultural and political carnage of the Bush occupation forces was becoming apparent; remember Terri Schiavo, privatizing Social Security, New Orleans, Tom DeLay, "Duke" Cunningham, Harriet Miers, warrantless wiretaps, etc., etc.

When the moralists and the clean-living get vocal, sensible folks watch their rights and their wallets, the latter of which I'll be opening as soon as Graphic Sexual Horror screens in New York.

The Primacy of Rope in Japanese Aesthetics

Ages before the Pharaohs used it to construct the Pyramids, thousands of years before Oppian of Corycus described its use in fishing nets, and about the time humans started using vessels to cook and store goods, the Japanese were adorning things with rope.

Japanese pre-history is divided into what in Japanese archeological terms is called the "Pre-ceramic" period, and the "Jomon" period. The molding and firing of clay was a monumental technological advance among ancient peoples, and in the archipelago of Japan the ceramic arts may be said to mark the beginning of permanent settlement and the birth of an aesthetic culture. The Jomon people are not only credited with the first manufacture of serviceable clay pots, but at a very early stage of the technology’s development began decorating what they were making.

The first potsherds found in Japan were undecorated and date to the late Paleolithic period, approximately 15,000 years ago. The relative paucity of fired bits of such vintage suggest that while firing clay was known among Pre-ceramic peoples in Japan, the carrying of earthenware vessels was impractical given their nomadic ways. Based on the scant evidence, it is not well-established whether the Pre-ceramic peoples of Japan produced vessels or implements of some other unknown utility. The crude contour and smallness of the Pre-ceramic craft does suggest either a very prosaic or experimental view of the use of low-fired ceramics (see Kainer, Simon, "The Oldest Pottery in the World", Current World Archaeology, September 2003, pp. 44-49). However, the advent of pottery in Japan attends the first permanent settlements, the founding of agriculture and advances in social organization that would be understood as characteristic of the ascendant Jomon culture.

The elevation of pottery as a vital economic good during the 10,000 years of the Jomon period established one of the earliest man-made mediums of self expression, and a living cultural tradition still prized in modern Japan. Along with the pots themselves was something of far greater interest for our purposes here, namely, the ideas being expressed. The word Jomon is from the Japanese for “cord-marked” or “cord-marking,” or in some translations “rope-marked.” Whatever other practical uses rope may have been put to in Jomon culture (and one assumes that such uses were many), its entire epoch in Japan has been distinguished in name and artifact by an affinity for rope as an aesthetic good.


Japanese Pre-history, Briefly

It was on the Kanto plain in the vicinity of modern Tokyo that the first shards of Jomon creativity revealed themselves. Evidence of human habitation on the land mass that is modern day Japan dates to over 30,000 years ago during the last ice age when sea levels were significantly lower and temperatures much cooler, and Japan was connected to the Korean Peninsula and southern Siberia by several routes, or possibly a single expansive land bridge. The remains of flint tools consistent with late, or upper, Paleolithic technology have been found of the northern island of Hokkaido and the central island of Honshu, placing their makers not only in Japan, but also identifying them as nomadic hunter-gatherers with much the same seasonal ranges and tribal behaviors as their brethren to the west.

In most archaeological schools of thought pottery making is associated with the advent of agriculture; the fact of a harvest understandably necessitates a means of storing same, and thus does pottery appear in Mesopotamia around 7500 B.C.E. as grain cultivation developed and spread. The shard record reveals that the peoples of pre-literate Japan, however, began experimenting with pot making as early as 13,500 B.C.E., long before agriculture is known to have been introduced to Japan. The record also states pretty plainly that during this time these same people still organized themselves in small groupings, were nomadic and moved with the seasons following game. What small examples as exist tend to point to the manufacture of fist-sized spherical pots of no discernible utility - not capacious enough to store rice enough for even a single person’s daily needs, nor robust enough to use over an open flame. It is possible, therefore, to suggest that, in addition to being hard evidence of the earliest ceramic technology, pots were cast for their own sake since they lacked conceivable utility. It was, one could allow, something of an art in a primitive (but nonetheless rigorous) sense of the word. Evidence from later Jomon periods would elaborate on this idea.

Pottery making is one of the markers of the Neolithic era in human history. We’ve already noted that the advent of ceramic technology in Japan reaches back to the upper Paleolithic era and may be the bridge event that prompts most scholars to suggest that the Mesolithic era of human technological development does not apply to Japan – culture went from Paleo to Neo directly. The heirs to the “Incipient” Joman, so-called owing precisely to their pot making, were the Jomon proper, literally, the “people of the cord.”

To be continued...

Brooklyn est Arrivée (Fine Art 103?)

I like to think of this journal as having nominally to do with rope and it's eroto-mystical potentials, but it is, I think, slowly shaping up to be something to do with art and aesthetics too (albeit often run through a mangle). Maybe the bottom line is infected by the virus - likely less-dormant in me than in most, for it is indeed present in all - that resists the conventionalizing, commodifying and homogenizing blandishments of the dominant corporatist paradigm (capitalist that I am, I do have a lively and legitimate conflict theorist in me).

Now and again, but rarely, an artist perfectly encapsulates the resistance and thus the essentially humane act that is art-making. One is less likely to find game-changing art in a museum, for once it has made it that far it has been thoroughly vetted and assigned a value. It has become the convention in which it now floats, a host rather than fundamentally immune. Some artists are conscious of this progression and harness it to wryly humorous effect, such as in the case of Damien Hirst's $200M two day Sotheby's auction , held in bold defiance of the standards and practices of the broker/dealer/gallery model, or even more obviously in the impish indifference of Takashi Murakami to the art world's tut-tutting of his branding efforts. His recent show at the Brooklyn Museum was titled © Murakami.

But the guy you'll never see in a museum (unless he's doing a stealth installation) is Banksy. His metier simply doesn't allow for segregation, although it is happily and fittingly ghettoized. We here in (relatively) humble Brooklyn now have a few insights from the elusive savant of aesthetic subversion to show for having kept our house welcoming (but not so tarty that Banksy's elegant lipsticking were not juxtaposed on any less than an authentic pig).

Meeting with BS 4

Much has transpired since my last entry on Insex and BS.

The lovely, well-connected and ever helpful Barbara Nitke, as it happens, is a close friend of BB, a former writer for Big Worm Productions - Insex's minuscule nom de camouflage that once marked their DUMBO warehouse door here in lil' ol' Bklyn. She arranged a dinner at a perfectly extraordinary little place on the LES (Mexican food / French technique / 22 seats) where we all met and regaled each other with our respective experiences of Insex and BS. I had read BB's 2000 literary opus (available on Amazon) a couple of years ago, a rangy and popular thriller with a carefully considered BDSM theme, and had been moved by her unsentimental traverse across the some of the uglier congruencies of our favorite pastime. I was eager to meet her.

I won't speak out of school here*, but suffice it to say that I was sorely impressed not merely by BB's heartfelt interest in the ways of BDSM (as opposed to the usual uninformed or academic - so characteristic of (often wrong-headed) portrayals of BDSM in a popular context), but with the many dimensions of her intelligence and the ecology of her life as a writer. While she had provided Insex with a great many of its more legendarily scenarios she had been quietly digesting her experience into a documentary script for a more gimlet-eyed exploration of Insex and, more specifically, the cult of the mad genius behind it, BS. Being a work in progress, it is as such subject to all of the usual detours, funding difficulties and creative slog any work of its scale would be, but it promises to be masterful when it comes out. BB believes it will be well received in European markets and Japan, where people better understand the distinction between analyticity and porn than they do in our electively sex-conflicted culture.

I surprised myself by having information I would have guessed BB to already possess regarding BS's foray out from conventional middle class propriety. It was while in the walled garden of academe, well before the veil would be lifted from the eyes of the first Insex subscriber and BS would fulfill the mandate of those who had convinced themselves that he was a corrupter of youth.


When he and I first met BS had recounted to me the beginning of his fascination with digital media in the 1980s when he was living in Buffalo and appended in some fashion to SUNY Buffalo. It was there that BS began experimenting with realtime interactivity using machine interfaces and video. By the early 1990s BS was at Carnegie Mellon University in Pittsburgh, having taken with him some of his more promising protégées from Buffalo, encouraging new acolytes and continuing to build a reputation in interactive digital media. Consider this former student, and for an even clearer harbinger of what was to come (including perhaps the character origin of the renowned Insex model Liz Tyler) click here.

At about the time Bruce Sterling and Tom Maddox teamed up on the breakthrough Snake Eyes (a live-action cyberpunk drama wherein actors controlled computer generated graphics with bodily movement) in Austin, TX, BS was organizing his first interactive performance art / installation outside the university setting. The piece, titled manINFESTation, debuted at the TransHudson Gallery in Jersey City in June of 1995. I remember BS said that the press showed up but did nothing with it, although I would learn later that some positive reviews did come of manINFESTation's one (expensive) gallery exhibit.

The following quip from the press release presages the elaboration of BS's career in art and media, and had it not been written for manINFESTation could easily have been applied to Insex.

"This work raises questions and concerns about control and power. It explores relationships and responses to the spectacles of society. These spectacles are recontextualized in images and performances intended as visual hyperboles."

In their reaction to consideration of BS's theory and practice of art, the predeceased right, the hysterical left and the timid administration of a major eastern university satisfied themselves that faculty member BS was a danger to their young charges' well-being and moral probity. He was summarily discharged and several other factors arrayed themselves against his quiet enjoyment of life. Thus began the plunge into the woods that ended with the founding of Insex.

*By the way, all the clues about BS left out in the open throughout these essays are entirely intentional. A little googling around would net you all this and more, and with the screening of BB's documentary all of this coyness of mine will be moot anyway. I'm just being respectful for the time being.

Fine Arts 102

Switching from photography, in whose bright precincts I have spent most of my slavish devotion to the representative arts, I take you now to the rarefied world of my fellow subversive and friend Sophi, aka Carolyn Weltman, multiple-award-winning figurative artist, flyweight dominatrix, faerie Queen and Her Majesty's Registrar of Secrets-Hiding-in-Plain-Sight.

Our kinky compatriot Jane Duvall inadvertently introduced us by posting a gallery of Sophi's work on her site, into which I'd fallen from a link at my future business partner's site where Jane was guest-bottoming. I was immediately smitten with the toppish impatience revealed in Sophi's drawings and her obvious affinity and intuitive feel for the human form in bondage. I say intuitive because it was immediately apparent that the ropework in her pieces were either purely imaginative constructs or renderings of restraint limited in their potential efficacy only by... well, for starters, physics (e.g., certain troublesome aspects of gravity - as much a problem in art-making as in bondage rigging, apparently).

But apart from such pissant and geekish exceptions these pieces were a revelation. It was clear that Sophi got it, and this at a time when I was having difficulty describing "it" even to myself. I inquired to the proffered email and received a polite reply with the indication that the artist had some connection to New York City...

Within a few weeks I would be accompanying Delano and other fellow rope freaks at the first BondCon in Queens. By then Sophi and I had developed a dialogue and she had allowed that she would be on West Broadway in Soho presenting her wares on dates when I would likely be showing out-of-towners a bit of my home turf. I found her holding court under an umbrella and surrounded by a bottomless wealth of erotica, all of her own devising. We were chums as of the first embrace.

Among the first of my entreaties to her (for I was at once extraordinarily admiring, turned on, inspired, but largely mystified by her work) concerned her faces, or the lack of them. While her figures were delightfully amplified in irregularity of torso, extremity and mane, not a one of them had but the vaguest hint of physiognomy. In my journal entry for that night I quoted Sophi as asking me "Well, dear Mac, who would you have them be?" Who, indeed. My rumination on that point would end up informing much.

Over the years I have modeled for Sophi on numerous occasions, elaborating on my long experience sitting for life drawing classes. The results have varied from merely excellent to world class. One of our collaborations (a drawing of an exercise Fakir Musafar reminds us is traditionally referred to as a lingam pendulum, right) hangs now in the permanent collection of the Kinsey Institute. In the leading rôle is a glass block that still haunts Sophi's studio and still makes a good story when visitors call.

Fin and I have modeled together as well, most recently logging 25 images over many sessions for Sophi's contribution to the soon-to-be-released Mammoth Book of the Kama Sutra. As a fond interpreter of sadistic self-expression I can vouchsafe that most severe erotic torture is wholly inadequate to more than even a few short minutes holding Utthita-uttana-bandha so it can be drawn. Still, by all means, do try this (and everything else you see in this very well-done book) at home - just keep moving.

With as many years as I've been back in NYC I've had the faith and confidence of this most dear friend to participate in her art and way of world-making. The record is large - much more than could ever be done justice here. I'll be posting more of Sophi and about our connection in the near future.

You Want to Make It Yourself, or Have It Delivered?

“Can you imagine old age? Of course you can’t. I didn’t. I couldn’t. I had no idea what it was like. Not even a false image. No image. Nobody wants anything else. Nobody wants to face any of this before he has to. How is it all going to turn out? Obtuseness is de rigueur.”

Philip Roth writing as David Kepesh in The Dying Animal

A few months ago I wrote an essay about stalking game fish and wild fungi. Although my conscious focus at the time was on patience and to some degree the election to suffering in order that the very best of things can learn of the sincerity of our interest in them, at the same time I less consciously eluded to the possibility of a relationship between myself and my delicately elusive quarry.

Much of that relationship and the messy excellence of it was predicated of the time devoted to it, specifically when the goal of my elaborate efforts (to eat fish and mushrooms) was deferred, when my ultimate reward still lay before me, when the going was the toughest. Merely eating fish and mushrooms could have much more easily been satisfied by a stop at Fred Meyer (sprouting all over the West these days like a mushroom itself, usually in the shittiest of circumstances), or easier still by occupying a booth in a Bennigan's or TGI Friday's until a Brobdingnagian combo platter of beer battered "fish nuggets" and 'shrooms heaved into view.

After all, some things are available just for the asking (and $9.99), so it's perhaps interesting to ask what the non-obvious qualitative differences are between my time-consuming and labor-intensive approach to a quantitatively small (but intense) payoff, and the passive, leisurely route to rafts of fishrooms. In terms of the biological necessity of getting calories into my body the latter would seem to have much to recommend it. What is it about foraging that should be so persuasive when the biological essentialist in me can simply open my wallet and fill my hole?

Perhaps it has something to do with adding a little more time and effort to my pleasures to make them not merely meaningful, but more obviously substantial. Eating food used to be a central tenant of life, and the quality of one's life varied dramatically depending on what, if anything, was to be found in the fields, wood or crosshairs. Our senses used to be acutely geared toward determining ripeness or rot - hard to do when your lettuce is barricaded in a blister pack, or your peaches have been dipped in a chemical agent to stall their ripening.

There is a relationship one has with food, or can have with food, that is fundamentally life-giving and life affirming. Anyone who has traveled in France or Italy invariably takes strong note of the cuisine and the culture surrounding it, and of the (concomitant) sexiness of the people, their joie de vivre, as it were. Ever notice how one does not jump to such conclusions so readily in Germany or England?

Relating to the foodstuffs marketed by industrial outfits is kind of the equivalent of having a relationship with Internet porn. One can have a relationship to porn, and we all by necessity have a relationship to food, but it's impossible to have a relationship with porn because it's not the real thing. Permit the suggestion that a relationship with industrial foodstuffs is an equally dubious proposition - one does not have a relationship with food through the intellectual exercise of reading the nutrient labeling. One eats. One, however, is not obliged to eat the real thing.

There are certainly pleasures to be found in paid procurement, as I'm sure Eliot Spitzer would agree. I myself tremble in lust before Ben and Jerry's Chunky Monkey. But prostituted goods are not what our better natures crave, they are not what we get to the end of our lives wishing we had not missed.

At the center of what will have been a life well-lived is how much of it we gave to surrendering ourselves to forces we thought were not us - other people, nature, eroticism, etc. In this sense a relationship is only the entry point to the really important stuff - the surrendering. The ultimate surrender is given ("Most things may never happen: this one will." - Philip Larkin). In the end it will pay to have gotten good at surrendering while you were able, that is, unless one finds a dreadful exit somehow attractive. Death won't care one way or the other. Good examples of surrender come to you daily by way of what you put into your body, and claiming the life of the plant, or better still, the animal that is headed for your dinner table is to understand the nature of having a relationship with something. I can relate to killing - lots of fish have met their ends at my hands, and if I were a better shot I might also have had relationships with a few deer.

I should think that if something is inevitable and there's a option to have it at least tolerable, maybe even enlightening, that'd be the choice I'd like to make. That's possible when relating, which in order to be worthy of the word requires vulnerability, access, risk - in a word, surrender.

But, that means: Relating! - not the sort of thing that happens when what sustains you shows up for a few bucks on demand, like so much fried fish. Such cheapness casts the erotic (and food, for that matter) as entertainment - no risk, no edification, no surrender possible... a pastime and detour many pervert into a way of life. Food, sex and life itself become art when we have discovered ourselves opened in a kind of voluptuous, abandoned and carefree way, fearless of the entailments, final and otherwise, loving the moment and knowing that we're in it... in a relationship with it.

You'll know you're in it, of course. It'll be very close, too close for comfort, really, it'll be very difficult...

...and, unless it's death, it will not be delivered.

Fine Art 101

First among the bits I'll put up of my work with other artists is credited to Barbara Nitke. Today's are from her advertising portfolio. I am in a few of these (we have given me the designation "Macground" since I am mostly just presence), but my in-frame co-conspirator and the person to whom you will be giving most of your attention is model and actress Ming Jin. Her devastating make up is by Khush Singh. This set was inspired by the film Lust, Caution, and we shot against the most elegant cargo elevator in NYC.


Barbara and I have been working collaboratively for years on several of her portfolios, and whenever she envisions rope being included as an element in her pieces, no matter how little, we link up. We often seem to end up with more bondage than might have been originally intended (and I frankly can't tell in the end who among us (models included) is responsible for failing to rein it in) but the results have been uniformly fabulous.

Barbara is not a practitioner of rope, but she is a long-time student of BDSM who intuitively understands the same thing I do about its efficacy in collapsing perceptions of space and difference between partners in a scene. Her last book, Kiss of Fire, is is a great chronicle of BDSM in NYC before it came above ground, and reveals Barbara's talent for capturing the spiritually humane, some have even said religious, import of BDSM.


I may say more about these and other of Barbara's pictures I'll post here, but for the time being I'll just let the images do the talking (and the first thing they'll tell you in no uncertain terms is that Barbara owns the copyrights).


Well, I will add that what you're looking at are the raw images, un-retouched by Barbara's considerable expertise in that department. Of the very few images that will actually enter her portfolio these may or may not be among the elect. From this particular shoot, however, these are among my favorites and representative of my continuing interest in Barbara's project.

No Hesitation

I'm into this idea that all one's drives in life converge to produce the bizarre amalgam that ends up being the unique contribution we leave in our wake, whether we know of it in life or not. The phenomenon is something of a longhand version of how an identity gets formed - and formed in this instance is to be firmly understood in the past tense, since identity must necessarily remain incomplete until we die. The shorthand version of identity formation is largely, maybe entirely, a fantasy - one that has the ready potential to expedite the final accounting of death.

Some readers will see my enthusiasm as a extension of my developing position on the philosophical and practical futility of identity-making, individuation, selfhood and such other notional work-arounds to the empyrean pleasures of unity. Still, in the same way that we use the grant of a life to work falteringly back to the wisdom with which it was originally endowed, that being a merging out of and back into unity, the stuff of life flows like water in the direction of convergence.

The stuff of my father's life was many sided and resistant to convergence. He was educated as a musician, spent a short time in radio, was a waterman and ultimately surrendered all of his art to the making of his family and a solidly remunerative profession. His profession offered nearly no space for his art, so it emerged from him at home, usually when things were most difficult for him personally, and only in small snippets. In summer he would take every opportunity to putter about the harbor rooting for little necks and cherrystones, drop hand lines for flounder or cast for bass. He also spent 20-odd years perfecting a short nocturne a few notes at a time, going through two pianos in three decades before he died in his early fifties of nothing in particular (and everything generally). One of his last delights was to meet Fin and have her translate the Marlene Dietrich songs he'd listened to since the 50s.

I have wondered over these past two decades since his death how much the fencing-out of his art contributed to the shortening of his time on earth, for his line was and is still pretty long-lived. As great, present and dutiful a dad as he was, and as much as he indulged all his children's artistic dalliances, he didn't permit himself the same life-giving tonic. I recall a pervasive air of frustrated self-regard marking his death most clearly, and if I preserve a sense of my father's identity at all, meaning the one that he left at the end, however inadvertently it would be that of a frustrated artist.

One of the signal happinesses of my life has been the convergence of so many of my drives and passions. Even those that don't clearly flow into others at least do not dam the general progress and merging. Not so long ago I might never have guessed that bringing what one does together with who one is could be so important. Until I stirred my pathological fondness for aesthetics with the latent artistic impulses of my life's partner, seasoned that generously with the unstinting visions of countless other creatives and wrapped the entire fecund lot in the old news of my kink, I might as well have been half alive. I don't doubt that I would have been a great candidate for that vague ennui so characteristic of our age and culture, and so characteristic of my father's last years.

The unexpected result of all this fiddling was a new and deeper channel being carved, one in which my remunerative work modulated to accomodate itself to a broader vagueness, a more refined uncertainty, permitting chance opportunity and movement while at once, apropos this journal, finding its locus around a single thread.

Of the chance opportunities there have been many in the fine arts. In the coming weeks I will be posting some betokenings of my collaborations with a artists here in NYC and elsewhere whose work I esteem well beyond my association with them.