Molestation Culture, a video by Jenny McDermott
Parallax articles 2002 on sex (having/talking)
not sure how useful but lingis is cited in footnote 8 herein:
The Fall: Fictocritical Writing
I will go back to the University to teach about texts and pitcher plants. Ce ́zanne’s paintings, I reckon, are not representations of Mont Saint Victoire, they are ‘snares for the eye’: the viewer’s gaze must be captured in something like an organic way. 8
So what kind of capture does the literary text perform, when it is nothing much more than black tracks?
What is important in a text is not what it means, but what it does and incites to do. What it does: the charge of aVect it contains and transmits. What it incites to do: the metamorphoses of this potential energy into other things – other texts, but also paintings, photographs, lm sequences, political actions, decisions, erotic inspirations, acts of insubordination, economic initiatives, etc. 9
Its mode of capture is multiple, sensational. The writing teacher says: Make sure you cover sight, smell, touch and so on in your story. Ask yourself at the end of each section: what has the reader felt, and then also, what has the reader learned? Percept
Pitchers can be up to 7 inches long, curved and decumbent, widening prominently toward the mouth. You fall into them. They are not owers, they are evergreen leaves, modi ed into pitchers and arranged in a rosette, the pitcher usually being full or partly full of rainwater. Leaf colour varies from bright yellow-green to dark purple and most commonly a middle variation with strong red venation. The leaves, or pitchers, are produced each year from stems arising from the rhizomes which can live 20 to 30 years under the ground. The leaf edges are curled around and fused to form a liquid-holding vessel, similar in shape to a cornucopia.
How are the insects snared by this carnivorous plant? They are attracted, visually no doubt, to the colorful leaf rosettes that only resemble owers (ah, yes; they are all masks), and the red lip of the ‘pitcher’ is particularly attractive as a landing zone.
The red veins that lead downward are baited with nectar. And as we follow this lure, we reach the curve of the tube, which is lined with ne hairs, all pointing downward, so that we cannot work our way back. The pitcher, like the text, is a one-way zone. We, the victims destined to donate nitrogen, phosphorous and vitamins to the plant, fall deep into the pitcher, struggling for a while in the rainwater and the dew. A digestive enzyme soon dissolves us.
The English call them Frog’s Britches, in Madagascar they are known as apongandrano
You, my critical friends, have now learned the diVerence between the true ower and the deceptive carnivorous trap. This is something the insects which assure the survival of the nepenthes madagascariensis are destined never to learn. Attracted by beauty, they are suddenly transformed from free ight into a tumbling cadence. For each insect-victim it happens only once. But in writing, as Kim Mahood reminds us, we can do it over and over. Why? Because we can attach a concept to a percept.
I fall from a horse, over and over. In the moment of falling my body is charged electrifyingly with the surge and sweat of the horse, to which I am linked in a ying arc. For this moment I am raw energy, foam and sweat, volitionless, a momentum in the extremities of horsepower.
This is less a memory than an experience I have again and again.
When the link breaks and my body ies away from the horse, hits the ground, hurt, collects itself, it turns into memory. The story to which I need to give a form is punctuated with charged moments of this nature, which do not lose their intensity with the passage of time. 10
We fall for the one who resembles a ower; this is the operation of a romantic percept as old and as complicated as the bouquet. But to know the structure of the plant (or the text) as a concept, is to be able, incredibly, to climb out again, wet, dripping, exhausted, on the lip of the world again. Now you know: that was some kind of trick. You look at the horizon, now, a little more shrewdly, more critically. But the fall! And you glance back with a delicious shudder.
itinerant philosophy: On Lingis
180 pages collaboration
should it be called vagabunding pederast?
is joff peter norman bradley (or are they, another rabbithole) in 'becoming troglodyte' [p111] in the know and cover his crimes by covering descriptions of his language in equally floury obtuse and always woolly terms; extending his passe partout transience with deniability (probing local values and claiming local validities; perhaps imposing them locally in the awkward obsessive ways which make hi-power politicians and pederasts such close analogs and indistinguishable, exchangeable) ...... OR .... are they examining the roots of a genius who partakes in the right festive manners and measures to nourish over vast stretches of leaner time, which can and do sustain a 'typeastree' flex and fondness instead of obsessive fondling)
the google book version cuts off the 'conlcusion' here:
".. explores why it is that we understand so little of the other. We might say that his linguistic theory is liminally oriented as ... "
Encounters with Alphonso Lingis
Alexander E. Hooke, Wolfgang Walter Fuchs - 2003
nuttin much in the way of reviews
most of about 180 pages here:
this gets you the two occurences of the word papua which names the tribe i was on about (there once was an independent web page on their practice .. which i could dig from old notes if you asked nicely enough:
Review - Dangerous Emotions
by Alphonso Lingis
University of California Press, 2000
Review by Constantinos Athanasopoulos, Ph.D.
Jan 31st 2001 (Volume 5, Issue 5)
Joy and laughter, or Why I am So Happy
Nietzsche’s practical teaching is that difference is happy; that multiplicity, becoming and chance are adequate objects of joy by themselves and that only joy returns. […] The death of God needs time finally to find its essence and become a joyful event. Time to expel the negative, to exorcise the reactive—the time of a becoming-active. This time is the cycle of the eternal return.
The negative expires at the gates of being. Opposition ceases its labour and difference begins its play.
Gilles Deleuze, Nietzsche and Philosophy (Columbia UP, 2002), p. 190.
Drag queens flaunt their perversions and incite our laughter at them. [….] In the moment of laughter, there is transparency among individuals, as if the outburst of laughter gave rise to a single torrent surging within them.
Thus drag queens are the paragons and forgers of public morality.
Laughter freezes when someone who brings death to our friend or to a whole people gets away with it. Yet Nature does get away with it: the wind sputters through the eyes and jaw of a skeleton. We understand that we can laugh in the face of death. We catch sight of the possibility of seeing our death as a joke. We understand that we can die laughing.
You see our planet set in the orbit of the Sun, which is burning out as fast as it can. You see our Sun swirling in the cosmic maelstrom of the Milky Way galaxy. You see innumerable galaxies exploding toward immensities and distances that telescopes are not yet able to track. New telescopes and spaceship journeys into outer space will extend your vision of the universe ever further beyond the radius of our managed environment. It will direct our minds with material entities—stars, novae, and black holes—more alien and more forceful than any gods that we had imagined.
Alphonso Lingis, Body Transformations: Evolutions and Atavisms in Culture (Routledge, 2005), pp. 98, 123.
Foreign Bodies analyzes how our culture elaborates for us the bodies we have by natural evolution. Calling on the new means contemporary thinkers have used to understand the body, Alphonso Lingis explores forms of power, pleasure and pain, and libidinal identity. The book contrasts the findings of theory with the practice of the body as formulated in quite different kinds of language--the language of plastic art (the artwork body builders make of themselves), biography, anthropology and literature. Lingis explains how we experience our own powers of perception, our postures, attitudes, gestures and purposive action; how our susceptibility to pain and excitability by pleasure acquiesce in and resist the ways they are identified and manipulated today; how cultures code our sensuality with phallic and with fluid identities; how others dress appeals to and puts demands on us
Keywords Body, Human Body, Human
Categories No categories specified
(categorize this paper)
ISBN(s) 9780415909891 0415909899 (text)
No References found in this work BETA
Citations of this work BETA
Kelly Oliver (2000). Conflicted Love. Hypatia 15 (3):1-18.
Ken Saltman (1998). Men With Breasts. Journal of the Philosophy of Sport 25 (1):48-60.
Kelly Oliver (2000). Conflicted Love. Hypatia 15 (3):1-18.
Ruyu Hung (2012). Caring About Strangers: A Lingisian Reading of Kafka's Metamorphosis. Educational Philosophy and Theory 45 (4):436-447.
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screamers, stampers, gender-benders, sadomasochists, and pederasts, and confirm ... 11 This is a borrowed trace from Alphonso Lingis's chapter 'carrion body ...
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Alphonso Lingis, Body Transformations: Evolutions and Atavisms in Culture .... and only on the basest level is this love manifest as a love of boys (pederasty).
ps (full disclosure):
did my mom 'sleep' with preteen me?
did it fuck up relation with the female sex although she did so maybe for a total of 6 days or weeks out of a few years (memory hazy, never discussed afterwards; few surviving witnesses)?
ask the countless women i 'spent time' with and the only children i know about, but yes.
was it due to PAS (parental tensions)?
only recently have i come out of denial as to the extent a very great and lenghty alienation played a role (disparate parentage will do that) and though it was reversed and repaired to a very great extent, yes.
did 'it' 'sleepropel' me stellar distances ahead of everybody else, to the equally uncountable points of being outasite and realistically speaking (only beginning to) left without hope anybody will ever catch and keep up with me?
yes, i have become a hardcore feminist to a quite fabulously literal extent but failed to explain, show, demonstrate, hint at, mime, search hist. refs and prefs for it, other than to my own satisfaction, iow, .. 't aint clear to others, ah failed dee oathurz, etc.