Chaos and Cyber Love

Credit: mordorbbs.com

“chaos is the hauntology of the modern era” Arthur Kroker

How long before we are bots unknown to be?
Data is inscribed into flesh hitching DNA rides.
Generations unfold chromosomally influenced.
Replicants evolve in time, skin and commerce.

We parade and charade love on the city streets.
Aping the arts of others and ourselves as selves.
Interpellated we march onward chaotic bot-hood
We are the haunted of a Hauntology we aren’t.

GMO, HMO, HBO, society streaks a mean shove
How do we know who is machine and who man?
I dream of a mistress sex cyborg to mediate love.
Love is not the antidote, not the cure but the plan.

“Three Ways to End Fake Relationships Forever”

As if there could be a number assigned to quantify the methodology of finding true love…but I like the basic premise of self love before loving another even as the author, whose article is in the link below, argues that true love is selfless.  There is nothing revelatory in this article, but I think obvious truths are sometimes nice to read about through some other’s perspective, for instance the Spirit, Science and Metaphysics perspective.
Enjoy.
http://www.spiritscienceandmetaphysics.com/

Dream of a Mistress Sex Cyborg


Credit: rarewallpapers.com

When I was five, I suffered from nightmares. I don’t remember of what, but I remember fearing sleep. My mother did not allow her children into her bed at night unless warranting such special treatment or need for vigilance over illness, such as a high fever. I may have had the privilege to sleep with Mom once or twice since I was, unfortunately, a very healthy child. But that may have been the cause of the nightmares or at least the desperation I felt, not having a ready fix for them.

Perhaps I got the idea to pray to God as a solution from school. Back then prayer in school was unquestioned. After the pledge of allegiance, the announcer over the loudspeaker (yes the pledge of allegiance and morning prayer were an electro-communal experience) concluded, “And now for our morning prayer,” which was later re-worded to “And now for a moment of silent reflection,” the signal to pray quietly for a minute. I knew God, a word not frequently heard in my household other than in profane epithets my father would toss about on the infrequent occasion of his being awake the same time as the rest of his family. He worked nights. I understood the word, though ours was not a religious family; holidays were eating occasions, just like for my kids now, only holidays to them are gift-receiving occasions. My parents were practicing appetites. Food was their religion. Still is for my living-with-me father, at least, as he has no question more asked than “What are we eating?”

But when I was five and nightmare-filled, I resolved to pray nightly before sleep, begging God with a one-sentence “Please don’t let me have bad dreams” incantation repeated in quick succession enough times to knock me into dreamland. So, when the ritual removed the nightmares, I pondered the remedy and asked my mother in some randomly fallen into my lap opportunity to chat with my mom, who was always busy with too many kids (4 then, 5 later), “Do you believe in God?” She hesitated. It was long enough for me to slide into a little anxiety before she finally said, “I don’t know.” I cannot remember the explanation after that because those three words were the only ones that mattered to me and affected me long afterward.

I didn’t become an atheist or an agnostic or an adherent of any religion as a result of that encounter. In fact, I tried on many religions over the years: Buddhism, Judaism, Christianity and Islam, as well as agnosticism, atheism and a touch of the wiccan. Today I am still theologically ambiguous, often ambivalent, but a steady incursion of yoga into my life starting at 15 and flexing strenuously or ambivalently throughout my four decades since has led me to a commitment to certain constants such as life in balance (koyaanisqatsi is the Hopi word for its opposite, a word on a button I wore on an old army-navy supply backpack I have sported since the same age) and a dedication to the mystery. I have matured enough to have acquired a healthy respect, understanding, and awe of science: method, premise, discovery and temperament. Though I still cannot commit to any one ordering principle of the universe or multiverse or kingdom.

I have thought about reincarnation and the afterlife in general. In my musings, I have wondered about the human condition as walking, breathing, pulsing meat but also as anima, what I imagined I witnessed depart from my beloved Copper when he was put to sleep, the light and animation immediately stilled, or imagined while staring at a corpse. I have read enough in my lifetime of philosophy, theosophy, literature and science to conclude: I don’t know. Thanks Mom.

So, I have decided that when or if I do come back, I will come back as a sex cyborg, not purely utilitarian machinery like Woody Allen’s Sleeper orgasmatron or orgasmic orb, nor sex kitten destructo agent and object like Vanessa the fembot in Austin Powers’ The Spy Who Shagged Me but more like Star Trek’s Data from The Next Generation, who is a participant and observer of human behavior, learning to emote human style. He is a scientist of human behavior and emotion, both distant and involved, objective and subjective. His capability is not merely a marvel of advanced robotics but of his own capability to learn and grow. I want to come back as Data-fied sex cyborg (not of the Borg race, mind you, more generically cyborg). Probably not the first to imagine this. Think: Donna Haraway’s Cyborgs.

The sex cyborg or sex-bot I imagine is an automaton that charges not from battery or electricity or kryptonite, but from sexual energy, that which is produced in the mutual sexual act–the one most electric–from foreplay (for those willing) to final orgasm or beyond, wherever the sexual activity of a particular session ceases. To keep alive and charged, this sexual agent must connect to its energy source at least once a day for minimally an hour, which means she/it is a once a day every day gal-bot. It also means she must be a multiply-relationshipped, mistress-type bot to obtain quality and quantity of sex and thus charge; long time committed relationships generally contain floods and droughts. Masturbation with imagined mutuality is a weak source so provides little life and would take longer charging time.

The intake of sexual energy is a logical source for a sex-borg because sex seems to be where much of human energy is spent: thinking, chasing, scheming, doing, cheating, excavating, mining, imagining and experiencing. So, the sex machine never fails to find a charge and lives indefinitely, especially if she is styled after the computed universal consensus of what is called “beauty” for a given culture, whether that is symmetry of features, youth, voluptuousness, waif-like body and demeanor, wherever the society is in terms of its constant flux of aesthetics.

Why a sex-bot? Well, besides the obvious, a constant life source and well, fun, I think the mistress-as-robot position is one most amenable to great and constant learning about human nature, what makes people really tick, the underside and bowels of the deepest, darkest (in the sense of not coming into light) guts and mystery that is human. In its many carnations, sex is experienced by and connected to all that humans started out to be, became and ended up to be. I don’t mean gender. I mean the genetics we are born with accented by environmental influences–loving father, mother, absent, cruel, war-torn world, whatever life brings–forms who we are consciously and unconsciously.

Why do some need more sex than others? Why do some not need it at all? How does one get off on eating shit while another doesn’t even find Johnny Depp sexy enough to “do”? It is thus with humans that we experience sex as a repository for all that we are and all we decide in life, our tastes and life choices and everything else. What we get off on is directly correlative to something we were born with or were shaped by in my non-scientific, non-professional home grown logic culled in my experience as a lifetime mistress and story collector.

As a distant observer and participant with a beyond human memory capability, I could do a lot of data collecting and pleasuring. I could potentially be pleasured myself, but I don’t think in the same way as a human experiences pleasure, more like mind-fucking empathy, not voyeurism, empathy. That’s why the cyborg as mistress is effective and intriguing. She is interested in the human species as a wannabe but dispassionate enough to be effective. With the right programming, she could be multi-skilled, adaptive, flexible and if not genuinely at least convincingly compassionate enough to perfect, satisfy and effectuate a wide range of scenarios and partners. She is far more gifted, less cynical and more professional than the human professional of the oldest arts. She is able to collect and provide gem-fuls of information about human nature, desire and need. She is Mistress Hum-bot, potentially something for everyone, who cares, in her fashion, to the extent of her capability, a post-human humanist. Wait, I think my mom already produced one of those. Okay, not really but fun to imagine.

Leonard Cohen’s “I Long to Hold Some Lady”

I Long to Hold Some Lady from The Spice Box of Earth
I long to hold some lady
For my love is far away,
And will not come tomorrow
And was not here today.

There is no flesh so perfect
As on my lady’s bone,
And yet it seems so distant
When I am all alone:
As though she were a masterpiece
In some castled town,
That pilgrims come to visit
And priests to copy down.
Alas, I cannot travel
To a love I have so deep
Or sleep too close beside
A love I want to keep.
But I long to hold some lady,
For flesh is warm and sweet.
Cold skeletons go marching
Each night beside my feet.

The scene is set in this song from the outset, longing for a body, any body (some lady) of not just the female kind, but one ascribed “lady” characteristics, suggesting manners and carriage, not just woman, which is neutral along the lines of female, a mere nominative term. In just the first line, a reader can see what Leonard Cohen is about in this song. Him.

His use of a mistress, the one night stand, a body, for his purposes, whether that is sexual or inspirational–the muse–is obvious. He refers to what he desires as “lady” and “flesh” and “bone”, which suggest the physical body and sexual desire, but he also uses words like “distant” and “perfect” and “masterpiece” along with religious figures of pilgrim and priest, suggesting the female figure as muse, on her pedestal, in his mental loins, a mere image for idolatry. But in the end of the poem, it becomes clear that woman is merely a placeholder for his own masturbatory lovemaking, the love he cannot travel to as it is so “deep”, I would posit inside of him, is the love of a woman….because he is so busy loving himself.

Leonard Cohen’s image as poet-lover is not unknown to others who know his music and writings, the lover who dabbled with so many women (Joni Mitchell one of the more famous of them), committing to none, and painted them on the walls of his imagination in his music and in his schtick, his gig, the crooner surrounded by the chick backup singers. Whether act or true story of his inability to attach/commit, he is devoted to promoting and expressing that romantic self image in just about everything he writes: Cohen as being Cohen. And that’s not a bad thing.

I like Leonard Cohen’s music and writing, most all of it. He is a caricature of a beat generation figure of freedom of expression and romantic love mid to late 20th Century style. He is historical. The brush strokes of his collage poetry is delicate and flavorful, like his last few lines: “For flesh is warm and sweet/Cold skeletons go marching/Each beside my feet.” The contrast of warm flesh, evoking the blood and bone imagery throughout, juxtaposed with the cold skeleton, life and death, is stripped purely in binary anatomical, biological terms. The romantic notion of craving someone gets reduced to blood, bone, and death. It is not macabre so much as a revelation that the “lady” was a mere idea in the first place–mistress muse of his imagination.

One may begrudge him for being a user and abuser of women for his purposes like any rapist, or one can judge him a showman plying his trade full of promotion and self-selfish love, or one can enjoy a poet using symbol and metaphor in his own style. Give him a break? For “there is a crack in everything (and everyone). That’s how the light gets in.”

Infidelity Stats

http://www.statisticbrain.com/infidelity-statistics/

Infidelity Statistics
Statistic Verification
Source: Associated Press, Journal of Marital and Family Therapy
Research Date: 1.1.2014
Marriage Infidelity Statistics Data
Percent of marriages where one or both spouses admit to infidelity, either physical or emotional 41 %
Percent of men who admit to committing infidelity in any relationship they’ve had 57 %
Percentage of women who admit to committing infidelity in any relationship they’ve had 54 %
Percent of married men who have strayed at least once during their married lives 22 %
Percent of married women who have strayed at least once during their married lives 14 %
Percentage of men and women who admit to having an affair with a co-worker 36 %
Percentage of men and women who admit to infidelity on business trips 35%
Percentage of men and women who admit to infidelity with a brother-in-law or sister-in-law 17 %
Average length of an affair 2 years
Percentage of marriages that last after an affair has been admitted to or discovered 31 %
Percentage of men who say they would have an affair if they knew they would never get caught 74 %
Percentage of women who say they would have an affair if they knew they would never get caught 68 %
Percent of children who are the product of infidelity 3 %
Tags:
what percent of married couples cheat on each other ? statistics on cheating marriage infidelity ? how many men cheat ? what percentage of women have affairs ? what percent of husbands cheat on their wifes wives men women spouses cheating infidelity reasons demographics ?

me and mrs. muse

Me and Mrs. Muse, we got a thing, a fight.
She comes to me with mighty nightly leer
But turns her bitch ass home come sunlight.

She seduces my daylight vision’s crafty trip
wets me up my wadded panties stuffed up
my jeans snugged up into jiz of jealous drip

Then she’s off to some other clit, slit or dick
leaving me in the kitchen’s neon buzz sink
dried up drizzle of crusted cum’d up slick.

Where ya been mutha fuckin’ cheater cunt?
Whose fake cock have you been riding lately?
Making your rounds of minds’ decrepit songs?

Oh won’t you come my mistress sweet, my love?
Snuggle me deep with mystery rhyme and weep?
Sleep in my words your breathful hymn, my dove?

For only the moment of you will deepen my deep
and face and force and forget you your denial
though frost and fire in others’ words you keep.

Mistress Muse Has Left the Building

Theater, theater everywhere and not a jot to spare.
I awake to coffee spill and news-ful cancer’d glare.
And fire drill call to hurry up let’s go I’m gonna be late.
Flinging my body to stand from sleep, I jerk my gait.

O where is my morning muse with her golden hair?
She is cleaning the sick of crusted plates from night.
She is driving the pouting glum of stare to school late.
She is plumbing pieces of despair picked from market.

Theater, theater in the air and none too soon to bear.
I lunch on steering wheel carousel toast with shmear.
From work to work I go changing shoes at red lights.
And home again to gaze into supper’s dull delights.

O where is my afternoon muse with her flesh of dun?
She is quilting the patches of place to place and back.
She is feeding the abysmal depths of teenage hunger.
She is bickering the truth of decaying parental mind.

Theater, theater nowhere near the pleasure palace be.
I sleep in hollow cavern deep with laundered sheets.
And trace the catatonic trail of deeds that light leads.
To bed alone with fantasy flee’d I sweep seams free.

O where is my night late muse with her sleeping brow?
She is unloosing strands tied tight in day’s do and do.
She is fallowed dark in forms of wisp and trollop sims.
She is aloft in costumed stages of trim repair of dreams.

image

Mistress Muse Where Are You?

image
When the thought I seek doesn’t come
I sit poised, fingers frozen in mid-type,
waiting for the words to percolate down
from my brain to my digits in wait, ready

But when sentences flow without stop
when they pour onto pad seamlessly
is when there is no thought, only flow
flying letters flipping up the paged screen

The stretch of linguistic limbs of mind
and the barren desert of heart desire
produces no cave gem of the delightful
just a wrenched out, eked out word squirt

Drenched in the sweat of sexless desire
it hurts to turn the cogs and wheels on
to keep the grooves oiled and tea hot
I am no longer the poet I was ever before.

Shorter Definition of Camp

CAMP: A sensibility that revels in artifice, stylization, theatricalization, irony, playfulness, and exaggeration rather than content, as Susan Sontag famously defined the term in her short essay, “Notes on ‘Camp.'” According to Sontag, “Camp sensibility is disengaged, depoliticized—or at least apolitical”; however, some postmodernists, feminists, and queer theorists have explored the ways that camp (for example, the drag show) can trouble the belief that gender is “natural” or inherent, and can therefore work against heteronormativity. As Sontag argues, “Not all homosexuals have Camp taste. But homosexuals, by and large, constitute the vanguard—and the most articulate audience—of Camp.” By exaggerating sexual characteristics and personality mannerisms, such queer-inflected camp could be said to contend that all behavior is really performative. Camp is also tied to postmodernism. As Sontag puts it, “Camp sees everything in quotation marks. It’s not a lamp, but a ‘lamp; not a woman, but a ‘woman.'” In this way, the term resembles Linda Hutcheon’s very similar understanding of parody, which Hutcheon offers as one of the major characteristics of postmodern art. (See the Hutcheon module on parody.) Camp’s relationship to kitsch is a close one; camp could be said to be a self-conscious kitsch. As Sontag writes, “Many examples of Camp are things which, from a ‘serious’ point of view, are either bad art or kitsch,” though she also acknowledges that “some art which can be approached as Camp… merits the most serious admiration and study.” Sontag also distinguishes between “pure camp,” which amounts to a kitsch that takes itself so seriously that we can now see it as hilarious (in other words, the camp sensibility is on the side of the audience not the author of the work), and “Camp which knows itself to be camp” and is, therefore, already making fun of itself. (Click here for Sontag’s article.)

http://www.cla.purdue.edu/english/theory/postmodernism/terms/camp.html

So, as to the answer to the quiz in light of the above definition, Elvira is nothing but artifice, theatre, irony, playful and exaggerated in her appearance, the heavily exposed large breasts, big hair, body hugging lycra black vamp wear and heavy black eye makeup. She is meant to out-Goth Goth with humor based on puns that play on ghoulishness and sexuality. However, Garbo while certainly capital on theatricality when she is striking that pose of lanky, half-swooned moony lover with her head thrown back or glam acting in the high camp style required of her day and era in the movies, she is not ironic nor playful, though she does seem to be “lover” and “glamorous” in overdrive. She is exaggerated glamour as she throws herself into the men she loves on the screen. Though more subtle, Shimizu teases with artifice (Is she male or female?), stylization, irony and playfulness as well as exaggeration riffing on gender typing. She is also theatrical with her bleached shorn hair, bare breasted slip tease from her unquestionably masculine tailored suit and her almost garbo-esque or Bowie-esque pose as the thin white (Asian, in this case) duke. My answer is that all three are to a more or less degree, some aspect of camp, a wide open self-conscious space of commentary on gender, sexuality, genre, art, and much more.