Monday, 30 September 2013

Allen Ginsberg & Howl

 Allen Ginsberg & Howl

Allen Ginsberg (1926 - 1997) was an American poet and one of the leading figures of the Beat Generation in the 1950s. He vigorously opposed militarism, economic materialism and sexual repression. Ginsberg is best known for his epic poem "Howl", in which he denounced what he saw as the destructive forces of capitalism and conformity in the United States.
In 1957, "Howl" attracted widespread publicity when it became the subject of an obscenity trial, as it depicted heterosexual and homosexual sex  at a time when sodomy laws made homosexual acts a crime in every U.S. state. "Howl" reflected Ginsberg's own homosexuality and his relationships with a number of men, including Peter Orlovsky, his lifelong partner.  Judge Clayton W. Horn ruled that "Howl" was not obscene, adding, "Would there be any freedom of press or speech if one must reduce his vocabulary to vapid innocuous euphemisms?"

Allen Ginsberg read his poem Howl for the first time, at the Six Gallery in San Francisco on October 7, 1955..

" I saw the best minds of my generation destroyed by madness,
starving hysterical naked"

Allen Ginsberg read his poem Howl for the first time, at the Six Gallery in San Francisco on October 7, 1955. He was joined that evening by four of his fellow beat compadres: Gary Snyder, Philip Lamantia, Michael McClure, and Philip Whalen. The event was the brainchild of Wally Hedrick. Hedrick had approached Ginsberg with the idea for a reading at the gallery, but Ginsberg turned him down. He changed his “fucking mind” after completing an early draft of “Howl.”
Kenneth Rexroth introduced the speakers. Neal Cassady and a drunken Jack Kerouac were in the audience along with Lawrence Ferlinghetti. The following day, Ferlinghetti sent a telegraph to Ginsberg offering to publish the poem. It wasn’t long enough for a book so Ferlinghetti requested additional poems.
There were problems right from the start. Many people considered the poem to be obscene. City Lights Publishers published Howl and Other Poems on Nov. 1, 1956, with the British printer Villiers. Customs officials seized 520 copies of the book on March 25, 1957 upon its arrival in the U.S.
“Imagine being arrested for selling poetry!”
—Shigeyoshi (“Shig”) Murao, Manager of City Lights Book Shop
In June 1957 undercover agents arrested the manager of City Lights Book Shop, Shigeyoshi Murao, for selling the book. Those charges were later dropped in court. Ferlinghetti, who was out of town, turned himself in to the San Francisco Police Department’s Juvenile Bureau after an arrest warrant was issued.
People v. Ferlinghetti, went to trial on August 16th in front of Judge Clayton W. Horn. Judge Horn was a Republican who regularly taught Sunday school, but his judicial philosophy lead him to conclude that: “Unless the book is entirely lacking in ‘social importance’ it cannot be held ‘obscene.”‘ Ferlinghetti’s ACLU lawyers called professors, editors, and book reviewers to testify to the poem’s literary merit.
On Oct. 3, 1957, Horn found Ferlinghetti not guilty. “The authors of the First Amendment knew that novel and unconventional ideas might disturb the complacent, but they chose to encourage a freedom which they believed essential if vigorous enlightenment was ever to triumph over slothful ignorance,” Horn wrote in the unpublished opinion. Howl got the last laugh.

A.Ginsberg was a practising Buddhist who studied eastern religious disciplines extensively. He lived modestly, buying his clothing in second-hand stores and residing in downscale apartments in New York's East Village.
 One of his most influential teachers was the Tibetan Buddhist, the Venerable Chögyam Trungpa, founder of the Naropa Institute, now Naropa University at Boulder, Colorado.[7] At Trungpa's urging, Ginsberg and poet Anne Waldman started The Jack Kerouac School of Disembodied Poetics there in 1974.

Ginsberg's took part in decades of non-violent political protest against everything from the Vietnam War to the War on Drugs.[9] His poem "September on Jessore Road", calling attention to the plight of Bangladeshi refugees, exemplifies what the literary critic Helen Vendler described as Ginsberg's tireless persistence in protesting against "imperial politics, and persecution of the powerless."

His collection The Fall of America shared the annual U.S. National Book Award for Poetry in 1974.[11] In 1979 he received the National Arts Club gold medal and was inducted into the American Academy and Institute of Arts and Letters.

 Ginsberg was a Pulitzer Prize finalist in 1995 for his book Cosmopolitan Greetings: Poems 1986--1992.

"Howl" contains many references to illicit drugs and sexual practices, both heterosexual and homosexual. On the basis of one line in particular "who let themselves be fucked in the ass by saintly motorcyclists, and screamed with joy"

Customs officials seized 520 copies of the poem on March 25, 1957, being imported from the printer in London.

On June 3 Shig Murao, the bookstore manager, was arrested and jailed for selling Howl and Other Poems to an undercover San Francisco police officer. City Lights Publisher Lawrence Ferlinghetti was subsequently arrested for publishing the book. At the obscenity trial, nine literary experts testified on the poem's behalf. Supported by the American Civil Liberties Union, Ferlinghetti won the case when California State Superior Court Judge Clayton Horn decided that the poem was of "redeeming social importance".

The case was widely publicized (articles appeared in both Time and Life magazines). An account of the trial was published by Ferlinghetti's lead defense attorney Jake Ehrlich in a book called Howl of the Censor.

The 2010 film Howl depicts the events of the trial. James Franco stars as the young Allen Ginsberg and Andrew Rogers portrays Ferlinghetti.

(Allen Ginsberg, Neal Cassady, Lawrence Ferlinghetti and friends, in front of City Lights Books shop, 1956. Photo: Peter Orlovsky)..

Futurist Manifesto of Lust

Futurist Manifesto of Lust

 Futuristi, Russolo Carrà Marinetti Boccioni Severini

The Joy of Mechanical Force
(Manifesto of Futurism, 1909)
by F. T. Marinetti

We have been up all night, my friends and I, beneath mosque lamps whose copper domes, as open-worked as our souls, yet had electric hearts. And while we trod our native sloth into opulent Persian carpets, we carried our discussion to the farthest limits of logic and covered sheets of paper with insane scrawls.

A vast pride swelled in our breasts, to feel ourselves standing alone, like lighthouses or advanced guards, facing the army of enemy stars that camp in heavenly bivouacs. Alone with the greasers in the infernal engine-rooms of great ships, alone with the dark phantoms that rummage in the red bellies of bewitched locomotives, alone with the drunks fluttering, battering their wings against the walls!

And unexpectedly, like festive villages that the Po in flood suddenly unsettles and uproots to sweep them off, over the falls and eddies of a deluge, to the sea, we were disturbed by the rumbling of enormous double-decker trams, passing in fits and starts, streaked with lights.

Then the silence got worse. As we listened to the exhausted prayer of the old canal and heard the grating bones of palaces moribund in their greenery whiskers, all of a sudden hungry cars roared beneath our windows.

"Come," I said, "my friends! Let us go! At last Mythology and the mystic Ideal have been surpassed. We shall witness the birth of the Centaur and, soon, we'll see the first Angels fly! We must shake the gates of life to test the hinges and the locks! ... Let us go! This is truly the first sun that dawns above the earth! Nothing equals the splendor of our red sword battling for the first time in the millennial gloom."

We approached the three snuffling machines to stroke their breasts. I stretched out on mine like a corpse in my coffin, but suddenly awoke beneath the steering wheel -- blade of a guillotine -- that threatened my stomach.

The great broom of folly tore us from ourselves and swept us through the streets, precipitous and profound like dry torrent beds. Here and there, unhappy lamps in windows taught us to despise our mathematical eyes. "The scent," I cried, "the scent suffices for wild beasts!"

And we pursued, alike to young lions, Death of the dark fur spotted with pale crosses that slipped ahead of us in the vast mauve sky, palpable and alive.

And yet we had no ideal Mistress high as the clouds, no cruel Queen to whom to offer our corpses twisted into Byzantine rings! Nothing to die for besides the desire to rid ourselves of our too weighty courage!

We went on, crushing the watchdogs on the thresholds of houses, leaving them flattened under our tires like a collar under the iron. Cajoling Death preceded me on every curve, offering her pretty paw and, by turns, lying flat with a jarring clamp of jaws to throw me velvety looks from the depths of puddles.

"Let us abandon Wisdom like a hideous vein-stone and enter like pride-spiced fruit into the vast maw of the wind! Let us give ourselves to the Unknown to eat, not for despair, but simply to enrich the unplumbable wells of Absurdity!"

As I spoke these words, I veered suddenly upon myself with the drunken folly of poodles chasing their own tail and there, at once, were two disapproving cyclists, reeling before me like two persuasive and yet contradictory arguments. Their inane undulations scanned over my ground.... What a bore! Phooey!... I cup off sharply and, in disgust, I pitched -- bang! -- into a ditch....

Ah! motherly ditch, half full of muddy water! Factory ditch! I tasted by mouthfuls your bracing slime that recalls the saintly black breast of my Sudanese nurse!

As I rose, a shiny, stinking gadabout, I felt the red-hot iron of joy deliciously pierce my heart.

A crowd of fishermen and gouty naturalists had gathered in terror around the prodigy. Patient and meddlesome, they raised high above great iron casting nets to fish out my car that lay like a great mired shark. It emerged slowly, leaving behind in the ditch like scales, its heavy body of common sense, and its padding of comfort.

They thought my good shark dead, but I awoke it with a single caress on its all-powerful rump and there it was, revived, running full speech ahead upon its fins.

Then, face hidden by the good factory slime, covered by metal dross, by useless sweat and heavenly soot, carrying out crushed arms in a sling, amid the plaints of prudent fishermen and distressed naturalists, we dictated our first wills to all the living men on earth:


1. We want to sing the love of danger, the habit of danger and of temerity.
2. The essential elements of our poetry will be courage, daring, and revolt.

3. Literature having up to now magnified thoughtful immobility, ecstasy, and sleep, we want to exalt the aggressive gesture, the feverish insomnia, the athletic step, the perilous leap, the box on the ear, and the fisticuff.

4. We declare that the world's wonder has been enriched by a fresh beauty: the beauty of speed. A racing car with its trunk adorned by great exhaust pipes like snakes with an explosive breath ... a roaring car that seems to be driving under shrapnel, is more beautiful than the Victory of Samothrace.

5. We want to sing the man who holds the steering wheel, whose ideal stem pierces the Earth, itself launched on the circuit of its orbit.

6. The poet must expend himself with warmth, refulgence, and prodigality, to increase the enthusiastic fervor of the primordial elements.

7. There is no more beauty except in struggle. No masterpiece without an aggressive character. Poetry must be a violent attack against the unknown forces, summoning them to lie down before man.

8. We stand on the far promontory of centuries!... What is the use of looking behind us, since our task is to smash the mysterious portals of the impossible? Time and Space died yesterday. We live already in the absolute, since we have already created the eternal omnipresent speed.

9. We want to glorify war -- the only hygiene of the world --

militarism, patriotism, the anarchist's destructive gesture, the fine Ideas that kill, and the scorn of woman.

10. We want to demolish museums, libraries, fight against moralism, feminism, and all opportunistic and utilitarian cowardices.

11. We shall sing the great crowds tossed about by work, by pleasure, or revolt; the many-colored and polyphonic surf of revolutions in modern capitals; the nocturnal vibration of the arsenals and the yards under their violent electrical moons; the gluttonous railway stations swallowing smoky serpents; the factories hung from the clouds by the ribbons of their smoke; the bridges leaping like athletes hurled over the diabolical cutlery of sunny rivers; the adventurous steamers that sniff the horizon; the broad-chested locomotives, prancing on the rails like great steel horses curbed by long pipes, and the gliding flight of airplanes whose propellers snap like a flag in the wind, like the applause of an enthusiastic crowd.

It is in Italy that we launch this manifesto of tumbling and incendiary violence, this manifesto through which today we set up Futurism, because we want to deliver Italy from its gangrene of professors, of archaeologists, of guides, and of antiquarians.

Italy has been too long a great secondhand brokers' market. We want to rid it of the innumerable museums that cover it with innumerable cemeteries.

Museums, cemeteries!... Truly identical in the sinister jostling of bodies that do not know each other. Great public dormitories where one sleeps forever side by side with beings hated or unknown. Reciprocal ferocity of painters and of sculptors killing each other with line and color in the same gallery.

They can be visited once a year as the dead are visited once a year.... We can accept that much! We can even conceive that flowers may once a year be left for la Gioconda! . . . But we cannot admit that our sorrows, our fragile courage, our anxiety may be taken through there every day!... Do you want to be poisoned? Do you want to rot?

What can one find in an old painting beside the embarrassing contortions of the artist trying to break the barriers that are impassable to his desire to wholly express his dream?

To admire an old painting is to pour our sensitiveness into a funeral urn, instead of throwing it forward by violent casts of creation and action. Do you mean thus to waste the best of you in a useless admiration of the past that must necessarily leave you exhausted, lessened, trampled?

As a matter of fact the daily frequentation of museums, of libraries and of academies (those cemeteries of wasted efforts, those calvaries of crucified dreams, those catalogues of broken impulses!...) is for the artist what the prolonged tutelage of parents is for intelligent young men, drunk with their talent and their ambitious will.

For the dying, the invalid, the prisoner, it will do. Since the future is forbidden them, there may be a salve for their wounds in the wonderful past.... But we want nothing of it -- we the young, the strong, the living Futurists!

Let the good incendiaries come with their carbonized fingers!... Here they are! Here they are!... Set the library stacks on fire! Turn the canals in their course to flood the museum vaults!... There go the glorious canvases, floating adrift! Take up the picks and the hammers! Undermine the foundations of the venerable cities!

The oldest among us are not yet thirty; this means that we have at least ten years to carry out our task. When we are forty, let those younger and more valiant than we kindly throw us into the waste basket like useless manuscripts!... They will come after us from afar, from everywhere, prancing on the light rhythm of their first poems, clawing the air with their crooked fingers, sniffing at academy gates the good scent of our rotting intellects already intended for the catacombs of libraries.

But we shall not be there. They will find us at last, on some winter night, out in the country, under a sad hangar on which the monotonous rain strums, crouching by our trembling planes, warming our hands over the miserable fire of our books of today gaily blazing under the scintillating flight of their images.

They will gather in a mob around us, panting with anguish and spite, and all exasperated by our untiring courage will bound forward to kill us with the more hatred for the love and admiration in their hearts. And Injustice, strong and wholesome, will glitter radiantly in their eyes. For art can be nothing but violence, cruelty and injustice.

The oldest among us are not yet thirty and yet we have already squandered great treasures, treasures of energy, of love, of courage and eager will, hastily, deliriously, countlessly, breathlessly, with both hands.

Look at us! We are not out of breath.... Our heart is not in the least tired! For it feeds on fire, on hatred, on speed!... You find it surprising? That is because you do not even remember having lived! -- Up on the crest of the world, once more we hurl our challenge to the stars!

Your objections? Enough! Enough! I know them! Fair enough! We know well enough what our fine, false intelligence asserts. -- We are only, it says, the summary and the extension of our forebears. -- Perhaps! Let it be so!... What does it matter?... But we don't want to listen! Beware of repeating these infamous words! Rather, look up!

Up on the crest of the world, once more we hurl our challenge to the stars!

 * * * * * * * * * * *
F.T Marinetti founded the futurist movement in the early 20th century. He wrote the futurist manifesto in 1908. Italians called it the ” machine age”  calming it granted the the gift of speed. This form of art now became a major symbol in Italy. Building designs were changing throughout the years, they were becoming bigger than the present buildings and had more shape to them.

The world was seen as fast, big and new. The futurist main attempt was to change the world with these big powerful machines.

Futurism has heavy influenced the world of science fiction, the films shown today are tools to continue futurists visions

A couple of film and animations that are based on futurists visions:


Moebius was a french comic created by Jean Giraud. It depicts a world of concrete and steel that make our imagination run wild. The future is seen as being large and bright.

Frank Miller’s Ronin

Ronin takes place in the near future in new york city. It shows the city is a machine, the architecture of buildings are not limited to simple square or rectangular shapes. But now take on many forms in particular more rounded shapes.

 Katsuhrio Otamo’s Akira

Akira depicts neo tokyo in 2019 31 years after tokyo was destroyed by a nuclear explosions cause by Akira. The film displays very fast movement. Speed is everywhere

Blade Runner

Blade runners is set in Los Angeles in 2019 several aspects of the film shows:

- Lights and video signs

- flying cars

- no brick work just steel

- bright colours everywhere.

Minority Report

Minority Report is set in Washington DC  and Northern Virginia 2054

- roads are in the sky

- houses and building are also in the sky

- Streets are full of video screen

- big tall sky scrapers tower over streets.

NY feminist Anne Koedt

The Myth of the Vaginal Orgasm
by Anne Koedt
 (NY - 1970)

Whenever female orgasm and frigidity are discussed, a false distinction is made between the vaginal and the clitoral orgasm. Frigidity has generally been defined by men as the failure of women to have vaginal orgasms. Actually the vagina is not a highly sensitive area and is not constructed to achieve orgasm. It is the clitoris which is the center of sexual sensitivity and which is the female equivalent of the penis.
I think this explains a great many things: First of all, the fact that the so-called frigidity rate among women is phenomenally high. Rather than tracing female frigidity to the false assumptions about female anatomy, our "experts" have declared frigidity a psychological problem of women. Those women who complained about it were recommended psychiatrists, so that they might discover their "problem" -diagnosed generally as a failure to adjust to their role as women.
The facts of female anatomy and sexual response tell a different story. Although there are many areas for sexual arousal, there is only one area for sexual climax; that area is the clitoris. All orgasms are extensions of sensation from this area. Since the clitoris is not necessarily stimulated sufficiently in the conventional sexual positions, we are left "frigid."
Aside from physical stimulation, which is the common cause of orgasm for most people, there is also stimulation through primarily mental processes. Some women, for example, may achieve orgasm through sexual fantasies, or through fetishes. However, while the stimulation may be psychological, the orgasm manifests itself physically. Thus, while the cause is psychological, the effect is still physical, and the orgasm necessarily takes place in the sexual organ equipped for sexual climax, the clitoris. The orgasm experience may also differ in degree of intensity - some more localized, and some more diffuse and sensitive. But they are all clitoral orgasms.
All this leads to some interesting questions about conventional sex and our role in it. Men have orgasms essentially by friction with the vagina, not the clitoral area, which is external and not able to cause friction the way penetration does. Women have thus been defined sexually in terms of what pleases men; our own biology has not been properly analyzed. Instead, we are fed the myth of the liberated woman and her vaginal orgasm - an orgasm which in fact does not exist.
What we must do is redefine our sexuality. We must discard the "normal" concepts of sex and create new guidelines which take into account mutual sexual enjoyment. While the idea of mutual enjoyment is liberally applauded in marriage manuals, it is not followed to its logical conclusion. We must begin to demand that if certain sexual positions now defined as "standard" are not mutually conducive to orgasm, they no longer be defined as standard. New techniques must be used or devised which transform this particular aspect of our current sexual exploitation.

Freud-A Father of the Vaginal Orgasm

Freud contended that the clitoral orgasm was adolescent, and that upon puberty, when women began having intercourse with men, women should transfer the center of orgasm to the vagina. The vagina, it was assumed, was able to produce a parallel, but more mature, orgasm than the clitoris. Much work was done to elaborate on this theory, but little was done to challenge the basic assumptions.
To fully appreciate this incredible invention, perhaps Freud's general attitude about women should first be recalled. Mary Ellman, in Thinking About Women, summed it up this way:

Everything in Freud's patronizing and fearful attitude toward women follows from their lack of a penis, but it is only in his essay The Psychology of Women that Freud makes explicit... the deprecations of women which are implicit in his work. He then prescribes for them the abandonment of the life of the mind, which will interfere with their sexual function. When the psycho-analyzed patient is male, the analyst sets himself the task of developing the man's capacities; but with women patients, the job is to resign them to the limits of their sexuality. As Mr. Rieff puts it: For Freud, "Analysis cannot encourage in women new energies for success and achievement, but only teach them the lesson of rational resignation."

It was Freud's feelings about women's secondary and inferior relationship to men that formed the basis for his theories on female sexuality.
Once having laid down the law about the nature of our sexuality, Freud not so strangely discovered a tremendous problem of frigidity in women. His recommended cure for a woman who was frigid was psychiatric care. She was suffering from failure to mentally adjust to her "natural" role as a woman. Frank S. Caprio, a contemporary follower of these ideas, states:

...whenever a woman is incapable of achieving an orgasm via coitus, provided the husband is an adequate partner, and prefers clitoral stimulation to any other form of sexual activity, she can be regarded as suffering from frigidity and requires psychiatric assistance. (The Sexually Adequate Female, p.64.)

The explanation given was that women were envious of men - renunciation of womanhood. Thus it was diagnosed as an anti-male phenomenon.
It is important to emphasize that Freud did not base his theory upon a study of woman's anatomy, but rather upon his assumptions of woman as an inferior appendage to man, and her consequent social and psychological role. In their attempts to deal with the ensuing problem of mass frigidity, Freudians embarked on elaborate mental gymnastics. Marie Bonaparte, in Female Sexuality, goes so far as to suggest surgery to help women back on their rightful path. Having discovered a strange connection between the non-frigid woman and the location of the clitoris near the vagina,

it then occurred to me that where, in certain women, this gap was excessive, and clitoral fixation obdurate, a clitoral-vaginal reconciliation might be effected by surgical means, which would then benefit the normal erotic function. Professor Halban, of Vienna, as much a biologist as surgeon, became interested in the problem and worked out a simple operative technique. In this, the suspensory ligament of the clitoris was severed and the clitoris secured to the underlying structures, thus fixing it in a lower position, with eventual reduction of the labia minora. (p.148.)
But the severest damage was not in the area of surgery, where Freudians ran around absurdly trying to change female anatomy to fit their basic assumptions. The worst damage was done to the mental health of women, who either suffered silently with self-blame, or flocked to psychiatrists looking desperately for the hidden and terrible repression that had kept from them their vaginal destiny.

Lack of Evidence

 One may perhaps at first claim that these are unknown and unexplored areas, but upon closer examination this is certainly not true today, nor was it true even in the past. For example, men have known that women suffered from frigidity often during intercourse. So the problem was there. Also, there is much specific evidence. Men knew that the clitoris was and is the essential organ for masturbation, whether in children or adult women. So obviously women made it clear where they thought their sexuality was located. Men also seem suspiciously aware of the clitoral powers during "foreplay," when they want to arouse women and produce the necessary lubrication for penetration. Foreplay is a concept created for male purposes, but works to the disadvantage of many women, since as soon as the woman is aroused the man changes to vaginal stimulation, leaving her both aroused and unsatisfied.
It has also been known that women need no anesthesia inside the vagina during surgery, thus pointing to the fact that the vagina is in fact not a highly sensitive area.
Today, with extensive knowledge of anatomy, with Kelly, Kinsey, and Masters and Johnson, to mention just a few sources, there is no ignorance on the subject. There are, however, social reasons why this knowledge has not been popularized. We are living in a male society which has not sought change in women's role.

Anatomical Evidence

 Rather than starting with what women ought to feel, it would seem logical to start out with the anatomical facts regarding the clitoris and vagina.
The Clitoris is a small equivalent of the penis, except for the fact that the urethra does not go through it as in the man's penis. Its erection is similar to the male erection, and the head of the clitoris has the same type of structure and function as the head of the penis.
C. Lombard Kelly, in Sexual Feeling in Married Men and Women, says:

The head of the clitoris is also composed of erectile tissue, and it possesses a very sensitive epithelium or surface covering, supplied with special nerve endings called genital corpuscles, which are peculiarly adapted for sensory stimulation that under proper mental conditions terminates in the sexual orgasm. No other part of the female generative tract has such corpuscles. (Pocketbooks; p.35.)

The clitoris has no other function than that of sexual pleasure.

The Vagina- Its functions are related to, the reproductive function. Principally, 1) menstruation, 2) receive penis, 3) hold semen, and 4) birth passage. The interior of the vagina, which according to the defenders of the vaginally caused orgasm is the center and producer of the orgasm, is:

like nearly all other internal body structures, poorly supplied with end organs of touch. The internal entodermal origin of the lining of the vagina makes it similar in this respect to the rectum and other parts of the digestive tract. (Kinsey, Sexual Behavior in the Human Female, p.580.)

The degree of insensitivity inside the vagina is so high that "Among the women who were tested in our gynecologic sample, less than 14% were at all conscious that they had been touched." (Kinsey, p. 580.)
Even the importance of the vagina as an erotic center (as opposed to an orgasmic center) has been found to be minor.

Other Areas- Labia minora and the vestibule of the vagina. These two sensitive areas may trigger off a clitoral orgasm. Because they can be effectively stimulated during "normal" coitus, though infrequently, this kind of stimulation is incorrectly thought to be vaginal orgasm. However, it is important to distinguish between areas which can stimulate the clitoris, incapable of producing the orgasm themselves, and the clitoris:
Regardless of what means of excitation is used to bring the individual to the state of sexual climax, the sensation is perceived by the genital corpuscles and is localized where they are situated: in the head of the clitoris or penis. (Kelly, p.49.)

Psychologically Stimulated Orgasm- Aside from the above mentioned direct and indirect stimulation of the clitoris, there is a third way an orgasm may be triggered. This is through mental (cortical) stimulation, where the imagination stimulates the brain, which in turn stimulates the genital corpuscles of the glans to set off an orgasm.

Women Who Say They Have Vaginal Orgasms

Confusion- Because of the lack of knowledge of their own anatomy, some women accept the idea that an orgasm felt during "normal" intercourse was vaginally caused. This confusion is caused by a combination of two factors. One, failing to locate the center of the orgasm, and two, by a desire to fit her experience to the male-defined idea of sexual normalcy. Considering that women know little about their anatomy, it is easy to be confused.
Deception- The vast majority of women who pretend vaginal orgasm to their men are faking it to "get the job." In a new bestselling Danish book, I Accuse, Mette Ejlersen specifically deals with this common problem, which she calls the "sex comedy." This comedy has many causes. First of all, the man brings a great deal of pressure to bear on the woman, because he considers his ability as a lover at stake. So as not to offend his ego, the woman will comply with the prescribed role and go through simulated ecstasy. In some of the other Danish women mentioned, women who were left frigid were turned off to sex, and pretended vaginal orgasm to hurry up the sex act. Others admitted that they had faked vaginal orgasm to catch a man. In one case, the woman pretended vaginal orgasm to get him to leave his first wife, who admitted being vaginally frigid.
Later she was forced to continue the deception, since obviously she couldn't tell him to stimulate her clitorally.
Many more women were simply afraid to establish their right to equal enjoyment, seeing the sexual act as being primarily for the man's benefit, and any pleasure that the woman got as an added extra.
Other women, with just enough ego to reject the man's idea that they needed psychiatric care, refused to admit their frigidity. They wouldn't accept self-blame, but they didn't know how to solve the problem, not knowing the physiological facts about themselves. So they were left in a peculiar limbo.
Again, perhaps one of the most infuriating and damaging results of this whole charade has been that women who were perfectly healthy sexually were taught that they were not. So in addition to being sexually deprived, these women were told to blame themselves when they deserved no blame. Looking for a cure to a problem that has none can lead a woman on an endless path of self-hatred and insecurity. For she is told by her analyst that not even in her one role allowed in a male society-the role of a woman-is she successful. She is put on the defensive, with phony data as evidence that she'd better try to be even more feminine, think more feminine, and reject her envy of men. That is, shuffle even harder, baby.

Why Men Maintain the Myth

1. Sexual Penetration Is Preferred-The best physical stimulant for the penis is the woman's vagina. It supplies the necessary friction and lubrication. From a strictly technical point of view this position offers the best physical conditions, even though the man may try other positions for variation.

2. The Invisible Woman-One of the elements of male chauvinism is the refusal or inability to see women as total, separate human beings. Rather, men have chosen to define women only in terms of how they benefited men's lives. Sexually, a woman was not seen as an individual wanting to share equally in the sexual act, any more than she was seen as a person with independent desires when she did anything else in society. Thus, it was easy to make up what was convenient about women; for on top of that, society has been a function of male interests, and women were not organized to form even a vocal opposition to the male experts.

3. The Penis as Epitome of Masculinity-Men define their lives primarily in terms of masculinity. It is a universal form of ego-boosting. That is, in every society, however homogeneous (i.e., with the absence of racial, ethnic, or major economic differences) there is always a group, women, to oppress.

The essence of male chauvinism is in the psychological superiority men exercise over women. This kind of superior-inferior definition of self, rather than positive definition based upon one's own achievements and development, has of course chained victim and oppressor both. But by far the most brutalized of the two is the victim.
An analogy is racism, where the white racist compensates for his feelings of unworthiness by creating an image of the black man (it is primarily a male struggle) as biologically inferior to him. Because of his position in a white male power structure, the white man can socially enforce this mythical division.
To the extent that men try to rationalize and justify male superiority through physical differentiation, masculinity may be symbolized by being the most muscular, the most hairy; having the deepest voice, and the biggest penis. Women, on the other hand, are approved of (i.e., called feminine) if they are weak, petite, shave their legs, have high soft voices.
Since the clitoris is almost identical to the penis, one finds a great deal of evidence of men in various societies trying to either ignore the clitoris and emphasize the vagina (as did Freud), or, as in some places in the Mideast, actually performing clitoridectomy. Freud saw this ancient and still practiced custom as a way of further "feminizing" the female by removing this cardinal vestige of her masculinity. It should be noted also that a big clitoris is considered ugly and masculine. Some cultures engage in the practice of pouring a chemical on the clitoris to make it shrivel up into "proper" size.
It seems clear to me that men in fact fear the clitoris as a threat to masculinity.

4. Sexually Expendable Male-Men fear that they will become sexually expendable if the clitoris is substituted for the vagina as the center of pleasure for women. Actually this has a great deal of validity if one considers only the anatomy. The position of the penis inside the vagina, while perfect for reproduction, does not necessarily stimulate an orgasm in women because the clitoris is located externally and higher up. Women must rely upon indirect stimulation in the "normal" position.
Lesbian sexuality could make an excellent case, based upon anatomical data, for the irrelevancy of the male organ. Albert Ellis says something to the effect that a man without a penis can make a woman an excellent lover.
Considering that the vagina is very desirable from a man's point of view, purely on physical grounds, one begins to see the dilemma for men. And it forces us as well to discard many "physical" arguments explaining why women go to bed with men. What is left, it seems to me, are primarily psychological reasons why women select men at the exclusion of women as sexual partners.

5. Control o/ Women-One reason given to explain the Mid-eastern practice of clitoridectomy is that it will keep the women from straying. By removing the sexual organ capable of orgasm, it must be assumed that her sexual drive will diminish. Considering how men look upon their women as property, particularly in very backward nations, we should begin to consider a great deal more why it is not in men’s interest to have women totally free sexually. The double standard, as practiced for example in Latin America, is set up to keep the woman as total property of the husband, while he is free to have affairs as he wishes.

6. Lesbianism and Bisexuality-Aside from the. Strictly anatomical reasons why women might equally seek other women as lovers, there is a fear on men's part that women will seek the company of other women on a full, human basis. The recognition of clitoral orgasm as fact would threaten the heterosexual institution. For it would indicate that sexual pleasure was obtainable from either men or women, thus making heterosexuality not an absolute, but an option. It would thus open up the whole question of human sexual relationships beyond the confines of the present male-female role system.

Books Mentioned in This Essay

Sexual Behavior in the Human Female, Alfred C. Kinsey, Pocketbooks, 1953.
Female Sexuality, Marie Bonaparte, Grove Press, 1953.
Sex Without Guilt, Albert Ellis, Grove Press, 1958 and 1965.
Sexual Feelings in Married Men and Women, G. Lombard Kelly, Pocketbooks, 1951 and 1965.
I Accuse (Jeg Anklager), Mette Ejlersen, Chr. Erichsens Forlag (Danish), 1968.
The Sexually Adequate Female, Frank S. Caprio, Fawcett Gold Medal Books, 1953 and 1966.
Thinking About Women, Mary Ellman, Harcourt, Brace & World, 1968.
Human Sexual Response, Masters and Johnson, Little, Brown, 1966.

Copyright © by Anne Koedt, 1970

Feminist Writer Lucy R. Lippard

 Conceptual Art Movement
  Feminist Writer Lucy R. Lippard (NY)

Only the ugly is attractive..

Sunday, 29 September 2013

Photo Hi(story) - Photo Collage

Photo  Hi(story) - Photo Collage

Photo Hi(story) - khatia Shiukashvili

Otia Ioseliani & Khatia Shiukashvili

 Vakhushti Kotetishvili & Khatia shiukashvili

Khatia shiukashvili & Vakhushti Kotetishvili
Vakhushti Kotetishvili & Khatia shiukashvili 

  Vakhushti Kotetishvili & Khatia shiukashvili 

Khatia shiukashvili & Otia Ioseliani ( Otia's Literature Night)

Friday, 27 September 2013

Her Secret Is Out

Her Secret Is Out 
(Photos taken InThe Museum of Liverpool, by khatia Shiuka)
 English former 'Vogue' model
and actress April Ashley
was the
tortured little boy George Jamieson
who became a glamorous Lady.

  April Ashley was born George Jamieson in Liverpool in 1935.

April knew she was different from other boys
right away.
April growing up with an abusive and unhappy
home life, she prayed every night that her life
would change.

During WWII, Liverpool was bombed
frequently. This forced April to spend time in
the underground shelters, giving classmates
the time to bully her incessantly.

In 1953, after a suicide attempt, she was sent to
Ormskirk Hospital’s psychiatric unit for
She endured a year of male hormones, sodium
pentothal injections , and shock therapy before
they finally released her from the hospital.
After George Jamieson tried to commit suicide

In the 1950s 'he' dressing as a woman
and using the name April Ashley
and moved to Paris and found work at one of
the city’s most expensive night clubs...

At 25, 'he' had finally saved the £3,000 needed
for the operation that would change her life.
She said with ' The Telegraph'; I knew by then
that I would kill myself if I didn’t have it. So
when I had the money I wrote to Dr Borou and
he said, ‘Please come over when you want.’
When I saw him, he said, ‘Why would a
beautiful girl like you want to become a man?’ I
said, ‘No, no, Dr Borou – it’s the other way

On May 12th, 1960 she underwent seven-hours
of surgery and was quite literally born again.
Returning to London, she changed her name
to “April Ashley” and began a modeling career.
She beat out many other women to be
photographed in Vogue.
When she become an popular model after
someone sold her secret to the Sunday People,
the publication outed her as transgender in

In 1963, she married Arthur Corbett, who was
well-educated English aristocrat...
April Ashley has never stopped fighting to win equality for others like herself...

P.s  I hope this video - story will helps
raise awareness for social equality
and to communicate more easily
acquaintances and most of all the
hundreds of people
with gender problems
all over the world..
                Khatia Shiuka
                  UK - 2013

April Ashley's exhibition is in 'The Museum of Liverpool'
(From 27 September 2013 - 21 September 2014)
 (Exhibition presented by Homotopia)
 Short film; Her Secret Is Out, by K. S 

Bette Davis - interview

Bette Davis interview on Dick Cavett Show 

WIT & Death Be Not Proud, by John Donne

Death Be Not Proud
by John Donne
Death be not proud, though some have called thee
Mighty and dreadfull, for, thou art not soe,
For, those, whom thou think'st, thou dost overthrow,
Die not, poore death, nor yet canst thou kill mee.
From rest and sleepe, which but thy pictures bee,
Much pleasure, then from thee, much more must flow,
And soonest our best men with thee doe goe,
Rest of their bones, and soules deliverie.
Thou art slave to Fate, Chance, kings, and desperate men,
And dost with poyson, warre, and sicknesse dwell,
And poppie, or charmes can make us sleepe as well,
And better then thy stroake; why swell'st thou then?
One short sleepe past, wee wake eternally,
And death shall be no more; death, thou shalt die.

Sinéad O'Connor - Troy

Sinéad O'Connor - Troy

Wednesday, 25 September 2013

Miles Davis - the cool jazz sound (1959)

Miles Davis - the cool jazz sound (1959)

No More Wars!

 No more wars!!!!!
 Eve of Destruction
(Barry McGuire )

The eastern world it is explodin',
violence flarin', bullets loadin',
you're old enough to kill but not for votin',
you don't believe in war, what's that gun you're totin',
and even the Jordan river has bodies floatin',
but you tell me over and over and over again my friend,
ah, you don't believe we're on the eve of destruction.

Don't you understand, what I'm trying to say?
Can't you see the fear that I'm feeling today?
If the button is pushed, there's no running away,
There'll be noone to save with the world in a grave,
take a look around you, boy, it's bound to scare you, boy,
but you tell me over and over and over again my friend,
ah, you don't believe we're on the eve of destruction.

Yeah, my blood's so mad, feels like coagulatin',
I'm sittin' here, just contemplatin',
I can't twist the truth, it knows no regulation,
handful of Senators don't pass legislation,
and marches alone can't bring integration,
when human respect is disintegratin',
this whole crazy world is just too frustratin',
and you tell me over and over and over again my friend,
ah, you don't believe we're on the eve of destruction.

Think of all the hate there is in Red China!
Tehn take a look around to Selma, Alabama!
Ah, you may leave here, for four days in space,
but when your eturn, it's the same old place,
the poundin' of the drums, th pride and disgrace,
you can bury your dead, but don't leave a trace,
hate your next-door-neighbour, but don't forget to say grace,
and you tell me over and over and over and over again my friend,
ah, you don't believe we're on the eve of destruction.

Billy Dont Be A Hero

Unhappy the land that is in need of heroes.
Bertolt Brecht

Jim Morrison -  Unknown Soldier 

My New Art Work. K. S

My new art work, today in college... 

Tuesday, 24 September 2013

Betty Friedan - American writer & feminist.

Betty Friedan ( 1921 -  2006) was an American writer, activist & feminist

 The Problem That Has No Name
    The problem lay buried, unspoken, for many years in the minds of American women,  It was a strange stirring, a sense of dissatisfaction, a yearning that women suffered in the middle of the twentieth century in the United States.  Each suburban wife struggled with it alone.  As she made the beds, shopped for groceries, matched slipcover material, ate peanut butter sandwiches with her children, chauffeured Cub Scouts and Brownies, lay beside her husband at night - she was afraid to ask even of herself the silent question - "Is this all?"
        For over fifteen years there was no word of this yearning in the millions of words written about women, for women, in all the columns, books and articles by experts telling women their role was to seek fulfillment as wives and mothers. Over and over women heard in voices of tradition and of Freudian sophistication that they could desire--no greater destiny than to glory in their own femininity. Experts told them how to catch a man and keep him, how to breastfeed children and handle their toilet training, how to cope with sibling rivalry and adolescent rebellion; how to buy a dishwasher, bake bread, cook gourmet snails, and build a swimming pool with their own hands; how to dress, look, and act more feminine and make marriage more exciting; how to keep their husbands from dying young and their sons from growing into delinquents. They were taught to pity the neurotic, unfeminine, unhappy women who wanted to be poets or physicists or presidents. They learned that truly feminine women do not want careers, higher education, political rights--the independence and the opportunities that the old-fashioned feminists fought for. Some women, in their forties and fifties, still remembered painfully giving up those dreams, but most of the younger women no longer even thought about them. A thousand expert voices applauded their femininity, their adjustment, their new maturity. All they had to do was devote their lives from earliest girlhood to finding a husband and bearing children....

        In the fifteen years after World War II, this mystique of feminine fulfillment became the cherished and self-perpetuating core of contemporary American culture. Millions of women lived their lives in the image of those pretty pictures of the American suburban housewife, kissing their husbands goodbye in front of the picture window, depositing their stationwagonsful of children at school, and smiling as they ran the new electric waxer over the spotless kitchen floor. They baked their own bread, sewed their own and their children's clothes, kept their new washing machines and dryers running all day. They changed the sheets on the beds twice a week instead of once, took the rug-hooking class in adult education, and pitied their poor frustrated mothers, who had dreamed of having a career. Their only dream was to be perfect wives and mothers; their highest ambition to have five children and a beautiful house, their only fight to get and keep their husbands. They had no thought for the unfeminine problems of the world outside the home; they wanted the men to make the major decisions. They gloried in their role as women, and wrote proudly on the census blank: "Occupation: housewife."...

        If a woman had a problem in the 1950s and 1960s, she knew that something must be wrong with her marriage, or with herself. Other women were satisfied with their lives, she thought. What kind of a woman was she if she did not feel this mysterious fulfillment waxing the kitchen floor? She was so ashamed to admit her dissatisfaction that she never knew how many other women shared it. If she tried to tell her husband, he didn't understand what she was talking about. She did not really understand it herself.  For over fifteen years women in America found it harder to talk about the problem than about sex. Even the psychoanalysts had no name for it. When a woman went to a psychiatrist for help, as many women did, she would say, "I'm so ashamed," or "I must be hopelessly neurotic."...

        Gradually I came to realize that the problem that has no name was shared by countless women in America...The groping words I heard from other women, on quiet afternoons when children were at school or on quiet evenings when husbands worked late, I think I understood first as a woman long before I understood their larger social and psychological implications.

        Just what was this problem that has no name? What were the words women used when they tried to express it? Sometimes a woman would say "I feel empty somehow . . . incomplete." Or she would say, "I feel as if I don't exist." Sometimes she blotted out the feeling with a tranquilizer. Sometimes she thought the problem was with her husband or her children, or that what she really needed was to redecorate her house, or move to a better neighborhood, or have an affair, or another baby. Sometimes, she went to a doctor with symptoms she could hardly describe: "A tired feeling. . . I get so angry with the children it scares me . . . I feel like crying without any reason." (A Cleveland doctor called it "the housewife's syndrome.")

        It is NO longer possible to ignore that voice, to dismiss the desperation of so many American women. This is not what being a woman means, no matter what the experts say. For human suffering there is a reason; perhaps the reason has not been found because the right questions have not been asked, or pressed far enough. I do not accept the answer that there is no problem because American women have luxuries that women in other times and lands never dreamed of; part of the strange newness of the problem is that it cannot be understood in terms of the age-old material problems of man: poverty, sickness, hunger, cold....

        It is no longer possible today to blame the problem on loss of femininity: to say that education and independence and equality with men have made American women unfeminine. I have heard so many women try to deny this dissatisfied voice within themselves because it does not fit the pretty picture of femininity the experts have given them. I think, in fact, that this is the first clue to the mystery; the problem cannot be understood in the generally accepted terms by which scientists have studied women, doctors have treated them, counselors have advised them, and writers have written about them. Women who suffer this problem, in whom this voice is stirring, have lived their whole lives in the pursuit of feminine fulfillment. They are not career women (although career women may have other problems); they are women whose greatest ambition has been marriage and children. For the oldest of these women, these daughters of the American middle class, no other dream was possible. The ones in their forties and fifties who once had other dreams gave them up and threw themselves joyously into life as housewives. For the youngest, the new wives and mothers, this was the only dream. They are the ones who quit high school and college to marry, or marked time in some job in which they had no real interest until they married. These women are very "feminine" in the usual sense, and yet they still suffer the problem....

        If I am right, the problem that has no name stirring in the minds of so many American women today is not a matter of loss of femininity or too much education, or the demands of domesticity. It is far more important than anyone recognizes. It is the key to these other new and old problems which have been torturing women and their husbands and children, and puzzling their doctors and educators for years. It may well be the key to our future as a nation and a culture. We can no longer ignore that voice within women that says: "I want something more than my husband and my children and my home."