and it is sweet to shipwreck in such a sea.

[adecentfello]

Thanks for all the memories. Grateful for the chance to think back on things every time I'm jamming in my car.

[adecentfello]

The Greek beautiful boy, as I remarked earlier, is one of the west's great sexual personae. Like Artemis, he has no exact equivalent in other cultures. His cult returns whenever Apollonianism rebounds, as in Italian Renaissance art. The beautiful boy is an androgyne, luminously masculine and feminine. He has male muscle structure but a dewy girlishness. In Greece he inhabited the world of hard masculine action. His body was on view, striving nude in the palestra. Greek athletics, like Greek law, were theater, a public agon. They imposed mathematics on nature: how fast? how far? how strong? The beautiful boy was the focus of the Apollonian space. All eyes were on him. His broad-shouldered, narrow-waisted body was a masterwork of Apollonian articulation, every muscle group edged and contoured. There was even a ropy new muscle, looping the hips and genitals. Classic Athens found the fatty female body unbeautiful, because it was not a visible instrument of action. The beautiful boy is Adonis, the Great Mother's son-lover, now removed from nature and cleansed of the chthonian. Like Athena, he is reborn through males and clad in the Apollonian armor of his own hard body.

Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson

[sandmandaddy69]

[adecentfello]

Dionysus' female chthonian swamp is inhabited by silent, swarming invertebrates. I proposed that the taboo attached to women is justified and that the infamous "uncleanness" of menstruation is due not to blood but to uterine jellies in that blood. The primal swamp is choked with menstrual albumen, the lukewarm matrix of nature, teeming with algae and bacteria. We have a food that symbolizes this swamp: raw clams on the half-shell. Twenty years ago, I noticed the strong emotions roused by this delicacy, to which few are indifferent. Common reactions range from ecstasy to revulsion. Why? The clam is a microcosm of the female hygra physis. It is as aesthetically and psychologically disturbing as menstrual albumen. The primitive shapelessness of raw clams offers sensuous access to some archaic swamp-experience. [...] Raw clams, I am convinced, have a latently cunnilingual character that many find repugnant. Eating a clam, fresh-killed, barely dead, is a barbarous, amorous plunging into mother nature's cold salt sea.

Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson

[adecentfello]

The Roman and Renaissance Bacchus is no more than a wine god. But Greek Dionysus rules what Plutarch calls the hygra physis, wet or liquid nature. Dionysus is, as Farnell puts it, "the liquid principle in things". Dionysian liquidity is the invisible sea of organic life, flooding our cells and uniting us to plants and animals. Our bodies are Ferenczi's primeval ocean, surging and rippling. I interpret Plutarch's hygra physis as not free-flowing but contained water, fluids which ooze, drip, or hang in tissues or fleshy sacs. The hygra physis is the mature female body, which I declare a prison of gender. Female experience is submerged in the world of fluids, dramatically demonstrated in menstruation, childbirth, and lactation. Edema, water-retention, that female curse, is Dionysus' leaden embrace. Male tumescence is an assertion of the separateness of objects. An erection is architectural, sky-pointing. Female tumescence, through blood or water, is slow, gravitational, amorphous. In the war for human identity, male tumescence is an instrument, female tumescence an obstruction. The fatty female body is a sponge. At peak menstrual and natal moments, it is locked passively in place, suffering wave after wave of Dionysian power.

Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson

[adecentfello]

The Apollonian is aristocratic, monarchist, and reactionary. Volatile, mobile Dionysus is hoi polloi, the Many. He is rabble and rubble, both democratic mob-rule and the slurry of uncountable objects rumbling through nature. Harrison says, "Apollo is the principle of simplicity, unity and purity, Dionysos of manifold change and metamorphosis." Greek artists, says Plutarch, attribute to Apollo "uniformity, orderliness, and unadulterated seriousness" but to Dionysus "variability", "playfulness, wantonness, and frenzy". Dionysus is a masquer and improviser; he is daemonic energy and plural identity. Dodds states: "He is Lusios, 'the Liberator' — the god who by very simple means, or by other means not so simple, enables you for a short time to stop being yourself, and thereby set you free . . . The aim of his cult was ecstasis — which could mean anything from 'taking you out of yourself' to a profound alteration of personality." Ecstasis ("standing outside of") is trancelike self-removal, schizoid or shamanistic. Dionysus' amorality cuts both ways. He is god of theater, masked balls, and free love — but also of anarchy, gang rape, and mass murder. Playfulness and criminality are first cousins, flouting the norm.

Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson

[adecentfello]

Chronicling the birth of a religion out of the collapse of the old, the Bacchae strangely prefigures the New Testament. Four hundred years before Christ, Euripides depicts the conflict between armed authority and a popular cult. A long-haired nonconformist, claiming to be the son of God by a human woman, arrives at the capital city with a mob of scruffy disciples, outlandish provincials. Are the palms of Jesus' march on Jerusalem a version of Dionysian thyrsi, potent pine wands? The demigod is arrested, interrogated, mocked, imprisoned. He offers no resistance, mildly yielding to his persecutors. His followers, like St. Peter, escape when their chains magically fall off. A ritual victim, symbolizing the god, is lofted onto a tree, then slaughtered and his body torn to bits. An earthquake levels the royal palace, like the earthquake during Jesus' crucifixion that tears the Temple veil, symbol of the old order. Both gods are beloved of women and expand their rights.

Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson

[adecentfello]

Greek art transformed Apollo from the virile bearded god to a beautiful young man or ephebe. He was once a wolf god: Apollo Lukeios, the Wolfish Apollo, gave his name to the academic Lyceum, literally 'Place of Wolves'. Apollo's wolfishness survives in his severity and austerity, his Doric plainness and rigor. The Dorians, who invaded Greece from the north in the twelfth century B.C., may have been blonde, recalled in Homer's red-haired Menelaus. I think Apollonian light turned again into blondeness, one of Europe's racist motifs, glamourized in Botticelli and the Apollonian Faerie Queen. Blondeness is Apollo's wolfish coldness and conceptualism. It made its mark on our century in Hitler's homoerotic Aryanism and in the icy eye-spear of black and white Apollonian cinema. By the early fifth century, Greek art purged both chthonian and single-sex elements from the major Olympians. Only the brothers Zeus and Poseidon retained their full beards and burly torsos. The ephebic androgyny of the high classic Apollo turned into effeminacy in Hellenistic art.

Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson

[sandmandaddy69]

[velvetvexations]

Lovecraft wrote down all the ideas that came to him to do something with later and there are some real bangers in there

[adecentfello]

The attempt to "mimic" life through algorithms, through the brute-force of trial-and-error will never create either life or "consciousness" — just what would such a machine be "conscious" of? — but just that, a mimicry or parody of the middling human intellect. A mirror and exaltation of the false intellect of the nerd, that never leaves the stream of words, syllogisms, motives and desire, that is always forced and contrived, because it's under pressure of some petty need. ... [AI] is a fantasy of power of the conspiracy of biological interests that unites the nerds, the intellect of "reason" — the party that believes in empty words — the middling, and the Jews of the human spirit into hoping for their golem. "AI" is the golem of those who hate life... It is their true Messiah and their vengeance.

Bronze Age Pervert, Bronze Age Mindset

[adecentfello]

Charisma is the numinous aura around a narcissistic personality. It flows outward from a simplicity or unity of being and a composure and controlled vitality. There is gracious accommodation, yet commanding impersonality. Charisma is the radiance produced by the interaction of male and female elements in a gifted personality. The charismatic woman has a masculine force and severity. The charismatic man has an entrancing female beauty. Both are hot and cold, glowing with presexual self love.

Camille Paglia

[adecentfello]

When was the last time u really got your walls stretched and bussy wrecked

I do not recall the date and hour, Your Honour.

[adecentfello]

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[adecentfello]

Art is a shutting in in order to shut out. Art is a ritualistic binding of the perpetual motion machine that is nature. The first artist was a tribal priest casting a spell, fixing nature's daemonic energy in a moment of perceptual stillness. Fixation is at the heart of art, fixation as stasis and fixation as obsession. The modern artist who merely draws a line across a page is still trying to tame some uncontrollable aspect of reality. Art is spellbinding. Art fixes the audience in its seat, stops the feet before the painting, fixes a book in the hand. Contemplation is a magic act.

Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson

[adecentfello]

That nature acts upon the sexes differently is proved by the test case of modern male and female homosexuality, illustrating how the sexes function separately outside social convention. The result, according to statistics of sexual frequency: male satyriasis and female nesting. The male homosexual has sex more often than his heterosexual counterpart; the female homosexual less often than hers, a radical polarization of the sexes along a single continuum of shared sexual nonconformity. Male aggression and lust are the energizing factors in culture. They are men's tools of survival in the pagan vastness of female nature.

Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson

[adecentfello]

The sexes are eternally at war. There is an element of attack, of search-and-destroy in male sex, in which there will always be a potential for rape. There is an element of entrapment in female sex, a subliminal manipulation leading to physical and emotional infantilization of the male. Freud notes, apropos of his theory of the primal scene, that a child overhearing his parents having sex thinks male is wounding female and that the woman's cries of pleasure are cries of pain. Most men merely grunt, at best. But woman's strange sexual cries come directly from the chthonian. She is a Maenad about to rend her victim. Sex is an uncanny moment of ritual and incantation, in which we hear woman's barbaric ululation of triumph of the will. One domination dissolves into another. The dominated becomes the dominator.

Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson