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.

Tie Me to the Ends of Love, Part 4

We spend out lives forgetting perhaps because the apparent truth that the self that gets pumped out into this dimension is somehow inauthentic bumps up almost immediately against biological nature. Nature’s uncaring and fascistic intent for us is to make copies – authenticity be damned. Nature gives us the little incentive called sexual pleasure to make those copies, but, the deeper truth being what it is, just as nature would confound our reaching in the direction of authenticity it also gives us one of the best avenues back to unity that we have, sex, which religion fears because sex trumps orthodoxy (and, hence, power) as a means of ecstatic, transformative experience. Not that devotion doesn’t work at all – millions of mystics have renounced the world to commit their lives to attaining a view of the godhead. But that’s a slow, laborious process. Similar, if not identical, results can be achieved with sex in a fraction of the time. Mysticism is to sex as the abacus is to a Quad-core processor.

So, there you go, nature itself offers up to humanity the sine qua non of spiritual actualization, sexual ecstasy, by marking it specifically as difficult, by making it appear inauthentic, by prompting a forgetting of unity. Thus does the fast track of sex become boggy with cultural and religious ideas of separation and thought-based self-identity, crystallized in the emotion of… shame. In shame sex looses its efficacy, and we can all think of some manner in which we’re thoughtfully disabling our sex with some blockage or other – an entire industry and billions of dollars in chemicals have rallied to meet our shameful thoughts about our sex. We become useful idiots in nature’s plan for our chromosomal proliferation.

That is, unless we don’t.

In a grander sense nature provides the friction we need to get traction, to make our way back to what lies in front of all of us and use that truth now and, instead of hovering just above life, falling fully and intimately into it.

She’s still there, by the way. Still just as tightly tied, somehow managing all this while to have avoided being gagged. And look at that – she is a good girl after all! In all this time I’ve been talking nothing has changed about our Besu and her predicament, except maybe her thoughts. With time and patience, hers and mine, she begins to let thought go and allows her body to be – in pain, dislocated, displaced. She has allowed herself to become unknown to herself, her self has mysteriously abated and left in its stead an opening, a widening which will meet all possibility now, especially that of divine immediacy, of the immanence of love and the enfolding of time and space, the time and the space in which we firmly believed until we shook ourselves loose from it.

For my part, as the top, I stay on the path I started down with her, the one on which she consented to volunteer her freedom, her voice and her self to my designs, my intentions, which, as anyone knows, were always in some sense her own. Among those intentions would be to for me to remove from her senses the veil of familiarity and the known, and challenging bondage is the manner in which I apply myself to my intention, a manner in which she can at every moment of our engagement feel that intention and the collapse of space/time that, if we are able to press forward into true intimacy where things are fuzzy, scary and strange, reveals the authentic nature of self in its obliteration and merging into the other, and by extension, into all things, into unity. With bondage it is to this strong possibility I continually pledge myself and then my self’s subjugation, that I might feel her in and about me and in so doing forget about either one of us.

It’s very similar to exactly what is going on right this very moment between all of you and me. Right now you, this audience, is not an assembly of individuals to me – to me you’re all fused, you’re an audience. With any luck you’ve been having an experience roughly in common of me, the element at the front of the room, the one holding forth hopefully with more authority than pedantry, but hopefully… full of hope and, therefore, vulnerable, open and exposed, with many of my deeply felt and personal truths revealed to others, the audience, my partners, as it were, in this little talk, without whom nothing here would have taken place.

Well, perhaps Besu and I would found our way into a lovely little scene, but you get my meaning.

And that’s how it happens – you show up, you present yourself and you stay present and before you know it you’re in the throes of an intimate experience. Surprise!

In my experience of it, it’s in this way that BDSM can deliver the goods sought after for millennia by adepts, mystics, alchemists… aspirationalists of all kinds and colorations; that being to surrender self, and to gain power and strength in the surrender. Regardless of what two people may actually be doing, when energy is fearlessly offered and intense both top and bottom surrender to the present moment and die to their respective pasts. To relate is to be fully conscious without necessarily being happy. Let the first happen and the latter will follow, get the inside right and the outside falls into place. The B of BDSM, bondage, as fact and as agent, may be no more efficacious than any other sadomasochistic mode, but if it may be said to do nothing else it does stress interiority - the daunting pleasures of going within, for, after all, and perhaps paradoxically, bondage is all about containment. I don’t want to overstate my position here on bondage, for I have a great many other kinks, but I believe that to be in it and to look at it is to have ready and unique access to the primal and essential impulse of being human, to step lightly back into the deeper currents of being, and through the gateway of intimacy as partners welcome a pure intimacy with all things, in every dimension, and in no time.

Tsk, tsk...

Ladies and Gentlemen, you may trust me on this: when it comes to remembering scenes accurately and completely, bottoms have it all over tops.

My dear byrdafyre reminded me (however inadvertently, or perhaps very, very subtly) of a scene we did several years ago during which she orchestrated some serious overcoming in a Barca Lounger thus enabling her 2+ hour endurance of the various depredations upon her person. Once summoned again from memory I recalled that I was challenged too, and not unpleasantly: rigging to a soft, somewhat amorphous block of yield-y upholstery takes a little extra doing.

So, I bow to and thank the formidable woman reclining to your left for keeping the record straight. Clearly higher selves are somewhat more ecumenical in their choice of landing place than I would credit them, even in my own (somewhat faulty) memories.

Tie Me to the Ends of Love, Part 3

But what has an ontology of duality brought to human relations? I see an ever deepening, almost therapeutic search for self as distinct from all else that is believed to exist as the final measure of earthly attainment, the ultimate good.

And I’m referring now to the quest itself, for as you’ve noticed the notion of concretely individuated self is (kind of) slippery, and that’s good. What would it mean to actually “tie down” who I really am? Well, if I tie anything down so it stops moving, stops becoming, is, in other words, static, then I can tell myself I know something for knowledge can only be of the immutable and unchanging.

But I would not appear to be those things. I’m always changing. I am, for example, aging. I’m compressing the gap between this very moment and my ultimate non-existence even as I simultaneously open up time and space between having become conscious and this very moment. I understand that I live constantly in relation to my end, my death, what Martin Heidegger called his “proximity theory” of being. Eckhardt Tolle would have me understand my relationship to my end as a brand of intimacy which most people are conditioned to avoid, as it is unmanifested and cannot, therefore, be weighed in thought.

Being, to Heidegger, is a misapprehension of authentic self (as opposed to individuated self); as I noted before we tend to settle for a concept of who we are relative to what we think we know about the world around us. Heidegger, while saying that the ultimate knowable truth is death, elaborates by observing that we do this prejudicially, meaning we construct a self from what we think we know best, what is most familiar, even comfortable, and this leads to a misbegotten notion of self. Our most authentic selves come not from what we know best, but from what is
most mysterious to us, what is darkest, strangest and most inscrutable. We know our authentic selves when we’re on the trickiest ground. Our highest and best selves are unlikely to show up in a Barca Lounger; we do, however, recall proudly the last time we pulled through when the chips were really down.

I would like to extend Heidegger and propose that in life we are processing toward unity, which is the truest course of being, and unimpeachable because we all face the same end, which, despite the most thoughtful efforts of organized religion, is a vast, aching mystery. Thus do we come into the world with an inborn ability to process back to a unified state, for all that is born dies. Being born itself gives us a strong impetus to aim for unity, for the world of the womb is expressive to earliest consciousness of a principle of unity and birth is all about separation, so in a sense the Abrahamic or Judeo-Christian problem of struggling for reunification with God is apt, but only as metaphor. As a way of understanding one’s humanity and of actually getting to God it’s historically of somewhat dubious utility.

So, how to go from unity to separation and back to unity? Well, we all get to unify in the ashes-to-ashes, dust-to-dust episode, the curtain call, as it were, and maybe even then we get to understand the nature of God and being without time, but what about before then, in life? Is it possible?

Through intimacy. Through breaking down what we think we know about self and its separation from other, from our partner. Through abrogation of self and merging, fusing and even joyously confusing the frontier where you end and your partner begins. It is what the Buddhists call compassion... compassion – feeling with. In Heidegger’s native language, mitgefühl. It is in the realization of authentic self, the self that is the other and acknowledges no distinction, no separation. It is being as one, unmediated, undifferentiated, which is available to us in this life, before it ends. No where is it written that we have to wait to know, in fact we’re born knowing and we spend our lives forgetting. That, to me, is what intimacy is all about, forgetting to forget.

Tie Me to the Ends of Love: Part 2

Say I have somewhat ruthlessly tied my partner in a position for which she was unprepared. Unprepared? Some might say that’s bad form for a top, and I would beg their momentary indulgence. So, my partner is working hard with this position and is possibly breaking down a little before long... sooner than she’d like... and in recognition of this I add a bit more challenge to the picture, something subtle that shifts the focus of discomfort just enough to take her out of the mind that’s saying “I… can’t… do this…” and put her back into the body that’s feeling more and more with each passing moment.

While I can afford to appear aloof about all this shifty energy, she’s anything but: it’s really uncomfortable now and ere long she might want out, might even get a little irate, but she’s not using her safe signal. In a little while she might get vocally angry, which is easily frustrated with a gag, about which she’d be humiliated on top of her aching for release. But in the meantime we’ll all keep aware for a safe signal, or panic, or, hopefully, fuller and fuller consciousness and presence as her options fall by the wayside.

I may give her a moment’s respite in the form of a glancing, gentle touch, brokering the continuation with a moment’s kindness, as it were, but I'm in close to her suffering, which is now acute and which she's resisting - I sense that she wants to be still in her bondage but it’s hard... she wants to be good but she’s unprepared to be good, to perform as she thinks I want her to perform, as she thinks I want her to be. Thinking about doing something “right” or “well”, or how she can manage the pain or the humiliation. Thinking… thinking… and thereby making the Cartesian blunder of being – cogito ergo sum, I think, therefore I am. But what? What am I? What’s assumed here? Well, first of all a self, a substantial, individuated entity apart from other selves and things. “I” is not only assumed, it's separate, and separate is, of course, anything but intimate. Separate is alienated.

So, now the suffering is more than physical; it’s existential. She’s in her head, figuring how to do what she’s being challenged by to avoid being with the challenge and thereby risking who she thinks she is. She’s the solidly proverbial human doing as opposed to the shifty, ephemeral and maybe chaotic human being. The primary question is now before her, brought by her dangerous lover, someone with whom she would be intimate if she could figure out how. If she could figure her way out of alienation. Always figuring. How to answer? Figuring out what the original question was in the first place… perhaps finally figuring not to figure.

The head, the mind, the brain, the center of ratiocination is the back office of intimacy, it’s where your claims get processed by unfeeling functionaries who insist on procedure and logic ahead of inconvenient and disorderly emotions. As any process-driven bureaucratic organization would do, thinking insists on not only its primacy but on the expansion of its control. Not surprisingly, many of the people I’ve met in the BDSM community are very bright, one might even say brainy. Good with their heads, and, maybe, in the community specifically looking to get out of those same heads a little more often.

So, perhaps rather than militate against intimacy, we simply fall back on familiar and culturally endorsed patterns of dealing with new information – we sort, we categorize, we try to figure it out, we think about things. Think about that; when’s the last time you had an ecstatic experience by thinking about anything?

Maybe some of you are familiar with Eckhardt Tolle’s Power of Now and his concept of the “unmanifested”. The manifested is the reality we think we know and the one we rely on to explain our existence. It’s a relative existence, one in which context is all important. It’s the heir to a long tradition of what I call separationist belief structures, starting with Plato’s ontological division of the world into extensional and ideal realms in the “Cave Analogy” to an interpretation of grace that includes a fall from it - Lucifer’s fall from heaven, man’s fall in the book of Genesis, and with the fall the eternal struggle to return to God’s good side.

Coming into the Enlightenment, this basic principles of separation and alienation are present and operant in Descartes and the worldview he organized so neatly and imparted to, for example, Issac Newton, which in turn gave us Newtonian physics and the calculus and their divvying up of reality into smaller and smaller quanta, ad infinitum.

Already pickled in a guiding existential principle of separation and duality, these leaps forward in human thought to this day look to most folks like unvarnished benefits. Notwithstanding important confirmations in high-energy physics (e.g., Heisenberg and the "Uncertainty Principle") of long-standing theories enunciated in metaphysics (e.g., Liebniz and his "Monadology"), both of which concern themselves with primary substance, and which together are beginning to point to resolution in a non-granular universe, the doctrine of duality continues to advance a world view where parsing thought, method and calculation is practically a religion, one where quality is least of all judged on refinement of feeling and mostly based on reproducibility of results. Not altogether a bad thing, I would say, for it made writing this essay using a word processor a great deal more fluid a project than it might otherwise have been.

Tie Me to the Ends of Love: Part 1

This is the text of a lecture I delivered for TES in NYC recently. It is only slightly modified to suit this forum. First the teaser:

Join Mac for a riff on Leonard Cohen of which the poet himself would approve. The ends of love have known many means: chocolate, diamonds, war... bondage? Well, maybe not so much. Until now. From ancient myth to modern neuroses Mac explores what love might have in store for us and how rope helps pin it down. Carve into your desire to bind or be bound and what it means to your ideas of yourself, your partner, your intimacy and the ends of your being. Go straight to the top to get to the bottom of some pretty big issues, expect the usual big words, a little Q&A, maybe a few gratuitous visual aids, and maybe to leave with some new ideas.

***

Thank you all for having me again, and especially to Lolita for her raw determination in getting a date together. I can well imagine that she often gets her partners to stretch and do the sorts of things they might not otherwise, and about which, afterward, they’re grateful.

I’d like to open tonight with a quote from the blog of someone who appreciates many of the same things I do about art, culture, daring, polemic and especially Japanese aesthetics. His name is Tatsuya Ishida, and he’s the author of Sinfest. Here you go:

“Whenever I peel an orange, I save the stem end for last. There's something about pulling out the spine that is very satisfying. Texture-wise, visually, the little plucky squirty sensation, it's a fun little operation to cap the peeling process. That's sort of my modus operandi when it comes to food. I try to leave the best for last. When I have a chicken pot pie, for example, I eat all the carrots and peas first, and leave a stash of chicken for the big finish. When I have a sandwich I work my way around the crust to the middle. I have this shit down to a science. Sometimes, though, it's not so smooth. Things can get complicated. Like, when I'm eating a pancake breakfast with hash browns, bacon, and eggs, I can't decide what my favorite thing is. I panic a little in my heart because I don't know how it's going to end. But that's what life is all about. Thrills, man. Thrills. I start out all confident that I'll end with a bite of bacon but then, the sweet syrupy pancakes start to win me over. Then the hash browns, that unassuming dark horse, make a comeback. And then the eggs are like, "Hey, we're the pure unblemished souls of chickens! Recognize!" At that point, all bets are off. It's anybody's game. I might go with bacon. I might not. Nothing's set in stone. Anything can happen. I know what you're thinking. You're thinking, ‘Tat, you crazy fool! You HAVE to have the last bite planned out AT ALL TIMES!’ But I like to live on the edge, Jack. I take chances. I flirt with danger. That's how I roll.”

Flirting with danger, that’s certainly one way to roll, and, I’m going to submit here that it’s not only a great way to roll but a great way to come to the timeless moment when danger, uncertainty, and the strangeness they engender roll into fusion between oneself and what, until that timeless moment, was another person. This is what I call intimacy.

A big part of success in anything has to do with allowing yourself to be surprised, indeed, being grateful for the leavening and spice of life's surprises, big and small. This is never more true than in relationships, but in principle yielding to surprise solves for what appears to be a host of life's more intractable problems while creating very few new problems of its own. Often events are just surprising and nothing else - not really problems at all if one can accommodate having not expected them.

I’ve been chatting about this idea with friends for a while to see what views I could glean that are different from my own. Rather than definite answers to the question of “what is intimacy?” or “how do you arrive at intimacy?” I have, for the obvious reasons, been interested in the question of whether suffering and displacement are legitimate access points to the realm of intimacy, and, concomitantly, what is that militates against immediate immersion into intimacy if suffering and displacement are indeed effective?

In the BDSM community we’re all familiar with the terms “intimacy averse” or “intimacy challenged”, and if I may presume to narrow these concepts down to something we can work with in the short time we have, let me suggest that they mean something like the inclination to run away, to withhold, or to give the impression of withholding, and, perhaps most importantly, to react with trepidation to a partner’s fullness of feeling in love, be it ecstatic or despairing.

To go into what I mean by “love” is a subject for another day – I’ll allow, however, that love in any universalizable sense of the word, must include an opening of self to the other, a revelation, if you will, where at least in some measure we expose the better, and the worse, angels of our natures to another person. I know that I will develop an intense and poignantly suasive feeling when I am coming unfurled before a companion, and never more so than when I am freely, profligately and perhaps even recklessly reducing their physical representation to me – who they look like, feel like, who they like to think they are. Rope is pretty good for this.

But, coming unfurled in this instance refers to the way in which I become completely honest about who I am in the moment, which is often neither pleasant nor attractive. But it’s authentic and it’s there, and it is fully expressive, and it fronts for me if it is welcome. If it’s unwelcome, it’s still there but there are other aspects of my character that may step to the fore at such times, no less honest, and which may be called upon to broker a continuation of the opening and the revelation.

Let me give you an example... (Besu and I teamed here to provide a visual aid similar to what we did a while back for photographer Jack Montgomery, a riff on Nobuyoshi Araki, right...)

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...

Ins and (Mostly) Outs of Public Displays of Kink

When time is short I'll occasionally dip into the pool of interesting ideas I've addressed with one correspondent or another over the years and dress it up a bit for posting on RSE. Here's one concerning my antipathy toward public play.

• What happens when the norms/rules are violated in a club? Do others provide sanctions or do some just look away? What if people consistently violate and are sanctioned…will they eventually stop coming because they realize that they aren’t wanted there? Have you ever seen someone who others ignored or sanctioned because they weren't respecting the rules? If so, what happened and what happened to them?

In my checkered experience of the public scene, the answer to this question seems to me highly contingent on the nature, structure and/or conditions of entry into the club. At one of the few surviving public BDSM clubs in NYC there is no vetting for fitness to the club's motif and putative purpose, so culture tourists and "wankers" (men who intrude on scenes while masturbating) are not only common but form the base upon which this club continues to do business.

Crowding by such persons reliably breaks scenes, mine and others. My standard line to unwanted participants (at first politely delivered) is "If you need to know where to position yourself, it's where I'm not hitting you," referring putatively to my reach inside the scene, but offered with a dusting of menace. More than once I've been brought to the point of physical confrontation with a wanker who simply would not keep his distance from my bound partner. In one instance an inebriant ended up being physically removed by myself and three other men (none of whom represented the club), but it is my impression that as a matter of policy no one who pays the cover is ejected unless the disruption has practically evolved into one for the police. I understand the club's position as a business proposition, however, and my choice to attend or not is, like any wanker, mine to make. It's impossible, however, not to conclude that under such conditions I am providing an attraction, and act, as it were, and indeed paying for the privilege of doing so, solely for the club's benefit.

In the interest of gender equality let me also observe that it is not only sexually repressed men who confound public play. Under different public circumstances and on more than one occasion women have approached me in public and endeavored to insinuate themselves by exaggerating their interest and experience, or by just lying. The latter behavior, if not pathological, one can usually chalk up to loneliness or an interest in something other than bondage (such as in one case the mistaken assumption that I was both substantially well-off and of a certain faith). More than a few women I've met have "always been intrigued by bondage" once, it seems, they've calculated my value on some other scale. Finding out I'm married usually puts an opportunistic intrigue down pretty quickly.

A counterpoint to this kind of tedious public dynamic are clubs such as one I used to frequent in Seattle, which fields 7 - 10 dungeon monitors on any given night. These experienced volunteers manage scenes in which perhaps a large number of people have taken an interest, or will assist with complex suspensions or other dangerous situations, and generally make their presence known and felt for the sake of those who can use them to, or, at the very least, to establish a perimeter.

(As an aside, gay bears and leather daddies make, I think, especially excellent DMs; robustly masculine and intimidating on the outside, politic, diplomatic and empathetic on the inside. The queer clubbing community also seems to have an intuitive feel for SM scene energy, irrespective of individual appetite. This reflexive and deferential civility toward concentrated human experience (in this case intimacy) is what I think endows a community with culture. Perhaps we don't use the word "culture" to qualify the straight or vanilla communities precisely because they lack the requisite erotic cultivation and civility to qualify as such. As I am often wont to observe here, BDSM just amplifies who one (or an entire community) really is.)

It helps that the Seattle outfit is a membership club, so all members are thoroughly briefed on the rules, and outsiders such as myself are obliged to either be accompanied by a member upon entry, or to be meeting one there. Even so, outsiders are obliged to sign off on the rule sheet. I'm given to understand anything untoward is very unusual, and that was indeed my experience. Likewise, in a private party setting all of the attendees have probably demonstrated their bona-fides to the host directly or by relation to a trusted source, so rules are largely unnecessary and comity is far more likely.

But, still, there are no guarantees. Once, some time ago, at a private party outside Austin I performed a semi-suspension that gathered a large audience. As the scene played out to the satisfaction of myself and my bottom (a friend's girlfriend), the respectful (and wanker-free) crowd dispersed to reveal two attractive young women, one of whom I had taken note of earlier in the evening, the other giggling cutely and asking if she could be next. I foolishly (and youthfully) said "of course," both flattered and feeling very full of myself on the heels of my moment in the spotlight.

Well, pride goeth before the fall.

Their excitement ended up centering around getting pictures of each other in situ at a BDSM affair, to which they had been invited as decoration (which I would find out presently). I had unwittingly volunteered to be their sideshow cut-out. With very little rope on her my initiate posed and mugged for a few snapshots before she realized she was in fact in the early stages of helplessness, at which point she began complaining loudly that she was uncomfortable, and went from giggly to apoplectic in a matter of a few seconds. Fortunately my creds were good with the organizers and, more importantly, the bouncers, who bounced promptly when the one I had initially found cute started shouting (most uncivilly) "Hey! This asshole's assaulting her!" There were several minutes thereafter of feather smoothing and drink ticket distribution, the effect of which apparently prevented the dialing of 911.

Turns out culture tourists can show up in grubby trenchcoats and shear back-seamed stockings.

The above constitutes the majority of my misfortune in the public scene taken over 20 odd years, so I consider myself actually pretty fortunate. Apart, however, from the occasional class or private tutorial (and, of course the fine art stuff), I've pretty much forsaken public play for these and other reasons, but mostly because I finally got wise to the happy fact that in all areas of life the right sorts of folks seem to show up right in my midst when I'm least expecting it, and with a lot less work and stress. To quote Bertold Brecht:

"What a miserable thing life is: you're living in clover, only the clover isn't good enough"

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.

The Tolerance Fallacy

I was talking with a Dutch acquaintance, Sabine, the other night and she summoned to our conversation several of the topics to which I've paid disproportionately much attention in this journal. She is in NYC looking into the BDSM and burlesque subcultures to develop material for a series she hopes to do over the next year on these and related topics for Het Parool, a daily in her native Amsterdam. She also produces for several television news/cultural outlets and will perhaps be returning next spring for a longer stay and some filming. She would like to do a segment on shibari rigging, so I gave her particulars for friends Bob and Chantal at Ropemarks, an Amsterdam-based site of very high quality. I spent a lazy, hot afternoon shortly thereafter perusing some of the Dutch sites and articles she'd rooted out regarding BDSM, seeing how much Dutch I could make out with my German and leaving the rest to Google.

In chatting with Sabine I was once again taken with the extraordinary tolerance of Europeans, and of the Dutch in particular, although much of our conversation went in the direction of assimilation problems among the Muslim population in Holland, the murder of Theo Van Gogh, and how much tolerance counts as enough ("Genoeg is genoeg" to quote Sabine). The very notion of tolerance itself provoked some insightful dialogue, as we determined that it is predicated on objection, and thus implies stratification or a moral hierarchy. Tolerance is very precisely not acceptance (which assumes a equality and perhaps even incorporation), and certainly there is something unacceptable (in the West, at least) about religious vendettas and homicidal rampages, such as the events prompting our consideration of the subject.

Apparently the Dutch (like the rest of the EU) are talking a great deal about the requirement (nearly codified by the scuttled EU Constitution and most recently in the ill-fated Lisbon Treaty) that the European polis practice tolerance while their immigrant populations suffer no obligation to accept the communities and structures that welcome them. It is an interesting historical moment for the founding members of the EU, especially the political classes, who are suddenly beset by their own double standards, and it is a difficult time for the left (my tribe), having discovered their presumed standard bearers to be more than a little interested in conserving the segregated status quo.

Happy-faced shibboleths, much less legislation about tolerance never settled any issue (e.g., kink, homosexuality, religion, race, etc.) that high minds (e.g., governments, political organs, social movements, etc.) would have them do in a high-minded way. Tolerance is a very dangerous thing to teach, for embedded in its curriculum is the concentration of a moral objection to the tolerated, one that in the granting of the tolerance serves merely to dignify antipathy and open the divide that much wider. As a pervert I can much more readily abide open enmity than sniffing tolerance, meaning: accept me or don't, but be clear. As Europe is learning, tolerance only exacerbates existing frictions.

Living as I do in the priciest third-world country on the planet (Brooklyn) I have a somewhat refracted view of cultures mingling, and tolerance here is in short supply. What happens in Flatbush does not stay in Flatbush, it moves out onto the land and is finally and fully assimilated (flattened) into the level playing field that is still (at least in some measure more than most of the rest of the world) America. Remember when no one in Dubuque had yet heard of hip-hop? Disco? Bay Ridge? And that's just cultcha (such as it is). New Yorkers are anything but tolerant; we're impatient, dismissive, entitled and self-important, but no more so than we think you are.

This city is an arcade of freaks (of which your correspondent is happily one), oddities, revolutionaries, capital concentration and preposterous creative energy because New York does not condescend to tolerate, it does not care about your identity or the terms under which you insist upon your segregation. Quite predictably it gets attacked a lot by moralists; some with bibles, others with laws, still others with the occasional spectacular slaughter. As this lively pool of seething intolerance continues to accept and incorporate humankind's best creative energy alongside the worst body blows the high-minded can heave at it, all without skipping a beat, the high-minded will uselessly persist in legislating and imposing its agenda for my behavior. I personally don't have a lot of tolerance for that.

Dem Damn Doms 2

Dear J.,

Following our most recent exchange I am very thoughtful about the whole matter of man qua dom and its characterization (both from within and from without) verses man qua man, and what we think of him. The entire idea of a "dom" I find problematic for a whole host of reasons, some already touched upon, but not least of which for what a man must believe true of himself in order to buy into the concept, however it ends up showing up on him.

My historical knowledge is sketchy here, but the idea of the dom (as a kind of freighted shorthand for dominant male) is I think a fairly recent phenomenon, one that has evolved coincident with the advance of women's equality, which is a sneaky way of noting that manhood in its poetical and even biological dimensions has taken something like a walk in the wilderness over the past generation (and possibly longer). As a result I think both genders have for at least half of that time recognized that something is not quite right in the relations between them, but something different than what was not quite right leading into the feminist and now post-feminist revolutions. The animal nature of both men and women has been bound by a new set of rules that in their effect have corrected a great many social ills, but also fomented some interesting existential issues for people's expression of their essential biological selves.

I don't mean to suggest that such issues arise for everyone; maybe only very few are sensitive to it. Where they do, however, they can be crippling. Of all the women with whom I've played, everyone over, say, 35, has wrestled with her a priori identification of herself as a feminist and her apparently conflicting desire to be tied up, or more generally overcome and dominated (younger women seem less, but still a little, conflicted). It is a proverbial cognitive disjunct and is so common in my experience that I feel as if I have begun parroting myself whenever the subject is broached (which often issues in some form of "What does this say about me as a person?"). There is at once a thrilling sense that rules are being transgressed combined with an equally gravitational sense that there lurks some sort of moral failure, a duty to oneself that is not being observed. In no case is anything like a natural flow of feeling the first and most ready instinct.

Which is, regrettably to my mind, not so dissimilar from general attitudes toward sex characteristic of even earlier generations.

Men, as is our wont, react hostilely toward any limitations placed on the biological imperative of spreading ourselves thinly and using lots of resources (such as women). What has been good for social functionality has been damaging to instinctual masculinity, for there are simply too many of us men walking the earth for any of us to be free-ranging anymore. Of course pointing out the debasing of masculine gender identity is not only politically incorrect (since somehow men are still believed to hold most if not all of the cards), such an allowance by any man reflexively and further debases its claimant among those of his own gender, since it admits to a weakness which is not part of masculinity as gender construct or as biological agent. The only "men" who effect classic masculine stereotypes with no fear of interdiction are those in either gender transition or those of a lower order of class. In both cases overt masculinism is tolerated because such men are politically ennobled by their socially marginalization or economic oppression. But the gender indeterminate and gender-fucked people with whom I have played have a uniquely canny take on the fluidity of assignments and identity - to float at the flexible edges of correct anything is the only place anything important ever happens.

Thus do heterosexual men find not much with which to align themselves, and with even less by which to position themselves as exceptional (which, to certain people with a puritanically punitive sensibility, is as it should be, and is especially agreeable to the sort of men in public office and with public profiles whose testosterone so frequently crosses up their fragile egos (paging Elliot Spitzer)). This plays out in relationships as it does in the larger corpus of society. A pro-domme once noted to me that men cannot be submissive for fear of what either women or other men might think of them, nor can they be full-on dominant without being ridiculed in the popular consciousness. The rational choice is to keep up a neurotic straddling act and essentially cease to register anywhere with anyone.

It could be that we all come to the BDSM table "broken" in some conventional sense of that word, but so what? What we don't appear to be doing in large measure is coming as we really are - perhaps beaten down and eager for a refreshed self-image, believing in a vitality we once knew we had and in our own ability to have it again... in our own worthiness of feeling alive.

Men especially do not feel particularly worthy of the drives that give no other species pause. The idea that it is right and in the nature of people to inflame their senses, leave their heads, to swoop down and be swept up, to have struggle and suffering included as tonics to the all-too-quickly digested repast... all this is not well endorsed, not outside the precincts of fiction at least. So, most doms are just scared that any instinct they act upon might be construed as a factual self-affirmation, a statement of principle, as a look into who they really are, and thus an alert to God, mom and the psycho-industrial complex to swing into action.

In practice I think what we get to see these days are largely half-measures of men, dom or otherwise.

A bit of a ramble, but that's how it is sometimes.

Mac, the Biological Essentialist

Help, Help! I'm Being Oppressed!

The engendering of humiliation characterizes the practice of hojojutsu and other inchoate forms of what would become shibari, and is implicit in what was the seed of shibari's own transformation from a martial into an erotic practice, and perhaps into something even more profoundly useful.

On the face of it, being bound is humbling since the unbound party is assigned the manifest power in the equation. The way in which we perverts temper the politically awkward fact of a power gradient obtaining between two parties is to call it a "power exchange", but there's no getting around it: one person humbles, and hence humiliates, another. What I would like to counterintuitively assert here is that a humbled state is about as close to the possession of pure power as any person can hope to achieve in life.

It has always been possible to subvert the will of a presumptive controlling party by creatively appropriating the presumed (sometimes ceded) mechanism of control. Thus, for example, has the word "queer" lost all of it's force as invective. Consciously surrendering to humiliation and degradation, to being apparently reduced and controlled by another, is the difference between being empowered and being oppressed. This idea is both the fulcrum and the lever of consent, and like those two basic machines there is practically nothing that consent cannot move.

All mystical traditions recognize that oppression is an optional state. Christ did nothing to resist the cross; in fact he actively sought the harshest of judgments from Pontius Pilate and the Pharisees. He was not oppressed in the slightest - rather, he was impassioned, humble and went down willingly to the grossest of abasements. He loved his enemies (and I have to doubt he thought of them as enemies). Had Christ indeed permitted himself to be oppressed by his oppressors he would then have likely have been forgotten along with every other Jewish carpenter named Jesus from the Galilee of his era. That he (as the tale is told) gave himself, that Christ surrendered, is what is remarkable about the man. A few hundred years before Jesus became the Christ, Siddhartha Gautama was born a prince, surrendered to humility and became the Buddha. Among the liberated community of our own era, the stories of Nelson Mandela, Václav Havel, Aung San Suu Kyi and countless others bear out the maxim that oppression is optional.

It's a bit more difficult for me to come up with an argument for oppressive practices other than bondage (say, whipping) being transformative in the direction of liberation (maybe I'll have a go at that sometime - the flogging scene in the movie Glory springs to mind), but I don't doubt that the same principle applies. Tying someone up looks to a tyrant like a ready means of reducing what it means to be a fully realized human, so the tyrannical community reliably adopts physical restraint as one of its tools. The liberated community knows in its bones that such behaviors are gestural, impotent and ultimately futile.

Given, however, that consciousness first blinks on in a monadic cosmos where all data points to our being all and one with Everything, that is, in a flawless state of union with the principle of creation, the perversion of physical restraint into eroticism is a small leap. Between the bottom of our hearts and the backs of our minds we already know what our deepest nature is and that it is continuous with the whole of existence. We come to consciousness both enlightened and tightly constrained, our fledgling senses accommodating only the toroidal nature of the womb. It is a comfort, a state of knowing without thinking, from which Freud observes we part only reluctantly. An atavistic impulse to return to the perfect state of satiety and unity is associated in earliest consciousness with being in a tight spot, understood as such only a posteriori, and certainly distinguishable from the open and vulnerable physical and psychic space we come to view as our world.

A commonplace about enlightenment is that separation and individuation are finally understood to be falsehoods, and so the inevitability of death is cast in a wholly different light, one unpacked of fearsome meaning (or any meaning at all, actually). To really live then becomes what Kant, in his consideration of the Sublime, liked to call Zweckmaßigkeit ohne Zweck, (purposeiveness without purpose). Alfred North Whitehead noted in his Function of Reason that the precise purpose of authentic inquiry is to be purposeless. At the edge of experience purpose is understood by scientist and mystic alike to be a mental, egoic construct, one which I suggest endows the entire notion of oppression with its noxious cast.

Indeed, to be enlightened is to fear no evil.

All ecstatic experience (or, again, passion) points to ultimate principles, and orgasm is the one form of ecstasy with which most people will have at least some experience in their lives. We partner-up intending to bridge the divide between at least two individuals, and fucking is largely (and merrily) how we prosecute that intention. So, as a species on at least one thing we're all in agreement: deep relations with at least one other person = good. Extrapolating only slightly from there it's easy enough to infer that deep relations with the whole of creation = even better. Getting sexed-up leads to ecstasy leads to reconnecting for a moment with the Godhead we know from earliest consciousness. Communion with ultimate principles is bred in our bones. Christ, Ghandi, Lao Tzu and nearly everyone else with their eye on the ball tell us more or less the same thing: We are God, we are All, what we think separates us from our true selves is an illusion. Gestation and birth are just metaphor for the state of grace and the fall from it.

(If we already have grace and know the ultimate truth, why bother with getting born and having duality, individuated self-hood, identity and all the other head-fakes of waking life in the first place? What's the advantage? Is the Universe in the business of squandering perfectly good creative energy?

The appearances of life have their own grade of cosmic import and are yet another topic to be considered another time.)

The physical constriction of bondage is a ready return to the antecedent state of grace. In getting tied up under a consensual, surrendered framework it's relatively easy to transform the intention of someone interested in controlling your freedom into a free ride to satori. Doing that allows the power gradient to shift immediately in the direction opposite to what is normally assumed, and tyrants need not apply.

Advantage: Bottom.

Dem Damn Doms

A little while back I had a very fruitful exchange with a woman relatively new to BDSM and interested in bondage. She is fiercely intelligent and fearless in her quest for straight dope, which resulted in epistles I found myself pleasantly surprised to be writing - not merely in response to her entreaties but about my character; both the one I possess and the one I play. Here's a meaty chunk:

When you get the time and inclination, (and if you are still interested) would you speak more on the issue of Doms and emotions? I am trying to get a handle on why particular Doms will attempt to 'train' women (or 'girls') yet withhold all sense of love, affection, being the lover, etc. They will 'collect' women ...or will select women they say are 'promising girls' yet what is the woman left with? Isn't love and affection part of what one would want to develop within the confines of a D/s relationship, in or out of marriage, or with both?

Dear J.,

Feh.

The phenomenon you note is chief among the reasons I do not frequent the organized scene. Like so many other things that can obtain between two people, problems of intimacy are rampant in BDSM, but like so many things obtaining to BDSM, it's amplified.

You might have described any of dozens of doms I've encountered through the years, many of whom profess towering abilities (which some of whom can actually deliver) which they deploy sparingly and at arm's-length from their partners. If pressed, they will allow that this aloofness is not only part of their prerogative, but that a certain, almost clinical, detachment advances the purity and precision of their control, as though the mingling of other energies might corrupt some predetermined end (in the case of rope geeks (i.e., my tribe) this can emerge as a tiresome fastidiousness with regard to knots, physics, etc.). This somewhat specious objectivity is probably helpful in side-stepping any moral qualms about the propriety of torturing an otherwise perfectly lovely person who (gulp) loves us.

Getting caught up in the particulars of "training" (toward what end we are left to wonder), rules, and so forth, while generally advancing a reductivist paradigm (e.g., from woman to girl, restraint, etc.) serves the purpose of distracting the bottom from what's going on in her emotional life as she deals with rules, the breaking of them, and consequentially the many and sometimes exquisite taxations of her body. This, it must be said, is one of the oft cited seductions of bottoming or subbing - gauzing over some emotional pain is a key inducement to willingly suffering the privations of submission.

It also conveniently gets the top off the hook for having to deal too deeply with his partner. Getting a bit too close to some essential truth? Throw out another red herring! Perhaps more importantly, constant redirection of the bottom's attention allows the top to stay comfortably buttoned up himself; if she's busy fulfilling her mandate she's less likely to notice her mate's foibles, much less his all-too-human vulnerability. When's the last time anyone pointed out a vulnerable top?

I see both dom and sub being very well served by the pomp and bombast of BDSM. As a practice it allows for sex and what looks like very intimate interaction, but mostly I think it's a lot of psychic smoke and mirrors.

But, what armchair analysis would be complete without some generous self-incrimination? I don't doubt for a moment that my interest in tying up comely lasses is rooted in a deep, almost atavistic fear of capital W Woman. I have no trouble loving women, however. I'm a great exponent of everyone grabbing as much love as time and fate allows, and I'm fortunate to have in Fin a woman who not only endorses such a view for her husband, but for herself. We both have a great deal of love in our lives and together. After 25 years Fin sees me very clearly, shares my affliction of maximum affection, and wants for me as I want for her, and that is as much as we can pack in. Love is of course critically important in the scheme of things but it is just love after all; it comes naturally and in great profusion, it's non-toxic and low in calories. It's the pound of flesh closest to the heart that we can keep.

The morality of love has, I think, gotten terribly muddled in the past couple thousand years. It's compelling to read Plato's Phaedrus or Aristotle's Nicomachean Ethics to see how love unfurled prior to our age. We seem to spend an inordinate amount of time and energy coming up with reasons for not loving, or stories about what we're feeling being something other than love, or cases for having not committed love against another, or worst perhaps of all; masks for misbehavior we call love. We point ourselves toward love today largely wary of passion and not just a little weighted toward the tragic. Not at all like the Greeks, or for that matter the Romans (although I think it was segue from Republic to Empire that inaugurated the ascendancy of the bureaucratization of all things raw, robust and lively... like love).

The world we can touch these days is much more orderly and granular (certain appearances to the contrary notwithstanding), and BDSM as a relational ideal, again, amplifies the conventional world by even more rigorously atomizing and organizing exchanges between partners, compartmentalizing on the basis of its peculiar morality and logic, legislating with appeals to the putative authority of objectivity, acting with thoughtfully blunted intent and plausible deniability; fearful, really, of the messiness of real human relations.

That messiness is, to my thinking, an absolute good. Were it not for love and relationships opening us up to the pain and humiliation of devastating loss, there'd be no intimation of what it's like to die, and thereby what it is to live.

I kind of cherish my fear of Woman for all the reasons I believe I've described previously - Woman's curvy circularity, her ripeness, her lunacy, her bottomless love, the expression of which I am born like any other. As a genetic male I must at some point create the man I would become by declaring myself not Woman. Not the bottomless love from which I come. That, I think, puts me pretty much in a perpetual state of awe about the principle from which I've had to wrest myself in order to fill in the blank that was my gender identification and my physiology.

According to women I've known that mission has been pretty much accomplished, but still, how do I deal with something I am in awe of? Well, I could hate it, I suppose, I could hate Woman. Fortunately, I don't - Ah luvs 'em. I would have to guess that, dysfunctions aside, I had much more love around me than not as I made the differentiation move in adolescence (and by love I mean my parents made their hearts fully vulnerable to my drama) , but that's the armchair squeaking again. Certainly I never got from any of the women in my young life any excuse for hating.

The last squeak of the armchair is Freudian: the fear going along with awe that I will be subsumed by that which awes me. The gambit I choose is to control awe-inspiring Woman with my ropes. Maybe it's less Freudian and more Apollonian - regulating chaotic Dionysus with his linear architectonic, etc. Aeschylus would have loved it.

Now I'm straying into mytho-analysis, so it must be time to pause. If I've not exhausted you by this point then you shall have to tell me your secret for enduring people who think they know something.

Good night.

Mac