#NSFW
Sexfinite: The Monotonous Life of a Sexbot
Tantric Voyeurism: Meditative Upskirt
#OSSNTU
Net Appropriation: Sexy Data
nsfw
There are 4 posts tagged nsfw (this is page 1 of 1).
Jennicam: Not Safe for Work
Jennifer Ringley, Jennicam, (1997)
My name is Jennifer Ringley, and I am not an actor or dancer or entertainer. I am a computer geek… I don’t sing or dance or do tricks (okay, sometimes I do) but not very well and solely for my own amusement, not yours).
“This will replace television,” said David Letterman.
With Jennicam, the ignition of reality television sparks controversial discussions. In view of voyeurism in its celebration, Hal Niedzviecki writes that “the Peep celebrity is indicative of just how entranced we are by the media machine’s ability to create the star-celebrity; we are drawn to the person-product who seems to fit so effortlessly into a society organised around the principle that people can and should be reduced to hits, ratings, views, box office gross.” A fan-mail for Jennifer Ringley states that his observation Ringley staying home on a Friday night comforts him. This judgement validates with her popularity speared from Jennicam’s 100 million hits a week.
Jennicam and NSFW
David Letterman added, “… They are lonely and desperate.”
Freeing what we watched redefines our culture and as a result justifies our inherent voyeuristic desires on certain level. Jennifer Ringley is an attractive young blonde woman that burns the heart of straight men and charges raging hormones. While an incentive like this is hard to ignore, the larger part of our collective emptiness envelopes us in the world of Jennifer Ringly, bordering between the real and virtual in Jennicam. The “third space” (a popular term coined by Randall Packer) explores limitless possibilities in cyborgian engagement.
Thank you, jenni.
Jennifer Ringley plays with her boobs.
Jennifer Ringley seduces with her boobs.
Jennifer Ringley and her ass grabbed.
Jennifer Ringley shows one nipple.
Jennifer Ringley masturbating while reading a book.
Many years after Jennicam, the reminiscence remains to be most upworthy in hits features nudity and sexual nuances that keeps discussions lingering. Albeit not the most academic, there is value in pioneering everyday live cam. Jennifer Ringley may have recede into sea of data, but she will always remain as a key icon for what she does and whom are inspired.
Read Jennicam and Project Virtual Awkwardness for first installment.
“… I’d always had a desire to sneak into a girl’s apartment and watch her through the night. I had the idea that while I was doing this I’d see something which I’d later realize was the clue to a mystery. I think people are fascinated by that, by being able to see into a world they couldn’t visit. That’s the fantastic thing about cinema, everybody can be a voyeur. Voyeurism is a bit like watching television – go one step further and you want to start looking in on things that are really happening.”
– David Lynch
GL1TCH.US: JESUS DIED FOR OUR GLITCH
Jon Cates, GL1TCH.US (ongoing)
… the dirtiness implies there is a human quality in new media, that it is not perfect, it’s not sterile, it’s the dirtiness implies there is a human quality in new media, that it is not perfect, it’s not sterile, it’s not removed from real life, but it contains its imperfections, it’s impurities, in a way, it’s organic qualities, that get closer to our “wet” lives, rather than our binary ones. not removed from real life, but it contains its imperfections, it’s impurities, in a way, it’s organic qualities, that get closer to our “wet” lives, rather than our binary ones.
Randall Packer’s response to Jon Cates idea of “dirty new media” (via A Glitch Expectations: Conversation with Jon Cates)
Glitch fundamentally disrupt the otherwise peace and order. But to have technology is to have glitch. God created men to sin; otherwise jesus died for nothing. the celebration of glitch as an art form symbolises an awakening — a new beginning for digital natives in B.G. (Before Glitch). Now with wifi as the most basic need in Maslow’s hierarchy, it is an implied need for it does not have direct nutritions to a man’s existence. It is the broadening of a man’s consciousness, the internet as an extension to men’s brain in prosthetic knowledge.
Glitch as the underdog that subverts UX/UI design
The unnerving experience in Jon Cates’ aesthetics challenges the functionality of which but above all, one’s patience for navigation. Glitch art unsettles the audience. Much reflective of the anxiety from mismatched expectations and trolling computers. It is theatrical and overloads sensory perception, inducing a hypnotic trance; a mental state of new singularity. The transgression across content curation in glitch proves to be nostalgia-inducing. To speak of instinctual reflex from the glitch aesthetics suggests a journey in associative thoughts as connected points in the cloud of hippocampus.
Is glitched porn still porn?
In Dirty New Media, pornographic materials did not get any less sensual. Pornography by its heritage would very much prefer clarity and resolution boost in its media translation. If sheer is sexy, so is glitch. For sheer clothing evokes that sense of wonder and curious lust, glitch in its distortion inspires fantasy of a spotless mind. One perverse lucidly and iterates above satisfactory sexual scenes. Sex does not live purely on bits but engages a perfect union between virtuality and the viewer. It offers tantra from the digital realm.
Catharsis in glitch
In a non-intentional experimental spirit, I have experienced glitch first hand by crashing my iPhone 5c. Some might see brokenness as an opportunity for growth i.e. get an iPhone 6/6 plus. Some quizzed my blatant apathy to my now obsolete hardware. Others simply trolled and maybe give thanks to god for the new aesthetic.
To be broken is to be free. To acknowledge that security is elusive. And this takes time as much as the scalping of wound. Where certain glitches were not meant to be fixed, restoration comes from the faith of human’s mind detached from worldly extensions. Certain glitches are looked back in anger and disgust, whereas certain glitches merge into aesthetically pleasing forms. We decide which is burden or opportunistic growth.
The Big Kiss: Sensuality Beyond Physicality
Annie Abrahams, The Big Kiss, (2008)
Machine mediated kissing in a performance = drawing with your tongue = taking pleasure, while constructing an image = a way to be superaware of the other = never totally abandoning yourself = ???????? = not at all like real kissing, it’s better! This might be a female view point.
– Annie Abrahams
Check out 5 minute documentary:
Annie Abrahams creates situations where people reveal things of themselves they normally don’t show, being real and acting out of what is normally accepted, referring to it as an “intimate moment”. The idea is that in such a situation, people invest their thoughts and emotions while conferencing in the third space. In retrospection, it pricks to pick on their performance, in The Kiss, both performers self-consciously gestured a kiss. A kiss and its various cultural connotations deconstructed in the third space. Read more…
From Annie Abrahams’ “not at all like real kissing, it’s better!”, it suggests fear of bodily intimacy such that a mediated situation creates a simulation that human are perhaps more comfortable with from machine’s interface.
On the opportunistic point of view, it is an empowerment of the machine as an extension of our mere body. The sensuality of kissing has transcended beyond the physicality of which.
Fear is an emotion evoked by our instinctual senses that we may react in fight or flight. Women associate oral activities as emotional engagement, that prompts vulnerability. From being “superaware” of the dynamics behind the screen and bearing an overview of oneself with another through super-flat, perhaps then, an inspiration of safety be it physical or emotional propagates thrill and immersive voyeurism.
Virtual sex, no matter how realistic, was really nothing but glorified, computer-assisted masturbation.
― Ernest Cline, Ready Player One
When observed alone in physical space, an observer might decide to feel awkward for the participant, when in fact such engagement is so intimate to those involved. To kiss as a gesture is differentiated in implications. Where in The Big Kiss with the hint of intimacy in machine learning, intimacy pushes beyond physical and emotional, but to cognitive and experiential.
In men’s ideation of sexual fantasies and desires, physical fixation is where the difference lies in as compared to women. Annie Abrahams is might be right after all that it might be of preference to females in virtual act of intimacy.
Touch is the space of the gap, not the connection. (Source)