Group Play and Happy Togetherness. Femdom pt 2.

It's about a spectrum of experience stretched across the two poles of will and surrender with will coded as male and surrender coded as female.

the inbreath is will
the outbreath,
surrender


Each relys on the other. theres a biting point at the apex where the magic happens /\ & that's, the whole point of sex, and art and life and etc DH Lawrence talks about this in the The Plumed Serpent.

"With a woman, a man always wants to let himself go. And it is precisely with a woman that he should never let himself go, but stick to his innermost belief and meet her just there. Because when the innermost belief coincides in them both, if it's physical, there. And then, and nowhere else, they can meet. And it's no good unless there is a meeting. It's no good a man ravishing a woman, and it's absolutely no good a woman ravishing a man. It's a sin, that is.....

I? It is very easy for me to make a mistake. Very easy, on the one hand for me to become arrogant and a ravisher. And very easy, on the other hand, for me to deny myself, and make a sort of sacrifice of my life. Which is being ravished." DHL 'The Plumed Serpent'

Too far towards either pole and its sterile, impotent, either through force or through passivity.

Though these poles are traditionally coded male and female this is just traditional usage. As DHL makes clear man can be ravished and woman can ravish. A man can sigh and flutter and enter into that domain of experience. and vice versa. it's about a geography of experience.

if you take a generic hardcore tune there are alternating periods of will and surrender in a beautifully crude way. a stomping period and a hands in the air period where the beat falls out.

you could conceivably draw up a table of sounds and effects in two columns.

if you look at the descriptors in the original article you can see what's going on

https://www.thewire.co.uk/in-writing...p-garage_1999_

surrender is liquid, lotion, moist. will is dry.

surrender is to swoon, to sigh, to moan. will is to grunt with effort. to bark an order.

what is tension? the held breath.
what is release? the exhalation.

The in breath is will
The out breath
Surrender

what is the straight line what is the curve?
why is Anna Livia Plurabelle a river?

What is tone of voice'?
why can information be abstracted from tone of voice?

What is the sound of an army marching in lockstep?
what is the sound of metal splintering bone?

How would you sing a lullabye?

Lear raging. Romeo and Juliet exchanging breathless vows.

how is threat encoded in sound?
as volume-the lions roar
as tension-the snakes hiss

surrender to violence
violence under will

move with
or
resist

this is all happening at the level of the body.
which is why i use the breath to explain it
the inbreath is will
the out breath is Surrender

08-03-2018, 04:16 PM #86 CORP$EY's Avatar CORP$EY CORP$EY is offline
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now urinating - feels like will but is actually surrender

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What is death?
the ultimate voiding of the bladder.

Quote Originally Posted by luka View Post
if you look at the descriptors in the original article you can see what's going on

https://www.thewire.co.uk/in-writing...p-garage_1999_

surrender is liquid, lotion, moist. will is dry.
jittery, irregular, lip smacking lusciousness, juice, oozed, succulent, , highly textured, skippy, languorous frenzy, ear-tantalising panoply of textures: crunchy, squelchy, spangly, woody, spongy, scratchy, seductively sleek and springheeled, passion-plasma, a body without organs fluid, hypergasmic, honeycomb of blissful hiccups, burstingly rapturous, plaintive, tremulous, voluptuous melancholy, a paroxysm of hair-trigger blurts and stuttered spasms of passion, mellifluous and diabetically ultra-sweet, gamelan-tinkling , undulant, sultry menace, creamy warble, splinters of yearning, melt-in-your-mouth, sensuous indulgence, warm, organic texture, thick, succulent,

this maps onto politics as the ultimate political expression of will is fascism. it also maps onto the politics of the self.

think of the rhetoric of bodybuilding and how that applies to the politics of the self. Pain is just weakness leaving the body.

09-03-2018, 11:35 AM #167 sadmanbarty's Avatar sadmanbarty sadmanbarty is offline
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Quote Originally Posted by luka View Post
it was very mechanical in its responses and all excitement was situated around the drop at which point lighters went up and shouts rang out in a very pavlovian way.
has anyone paralleled the fetishisation of the drop as a proxy of men's climax driven sexuality compared to women's whole journey sexuality?

ask when encountering music.
what movements and manners does it map out? what elegances does it encode? what excellencies?
what sophistications of understanding and attainment?
what does it aspire to?
what is the good life?
how is time structured? and what pace does it move at? what does it feel like to be in a body moving at that tempo, and in that rhythm? is this a fairground ride or is it otherwise?
can you imagine talking like that? walking like that? feeling like that? where is the weight centred? are you light on the feet? marching?
do you not like it? what is it to not like it? what is causing the discomfort?
do you like it? what is it doing to you that feels good? why does it feel good?
is it redolent of an era? which era? what is it that ties it to its time? or what is it about its time that is preserved within it?
a comportment? a psychological attitude? a bearing towards the world? how is that enacted in the music?

what motions does it describe?
what is the sound of an army marching in lockstep?
and how does an army march? with the shoulders and the hips rigid, square on, with arms held straight, up, down, left, right,
left, right, with the rhythm a metronome. movement in one dimension.

so then if we look at some of reynolds descriptors from the article
jittery, irregular, ooze, skippy, springheeled, fluid, undulant,
what is the straight line what is the curve?
why is Anna Livia Plurabelle a river?
the straight line of abstract thought. the imposition of will. the square of the freemasons. the square of blake's newton
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urizen. the border. the limit. the defensive wall. the roman road. the army marching in lockstep. crowley's phallic thrust.
the phallic action thrust
the phallic thrust of spear. the projectiles flight to target. the grid.

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(reformatted for clarity)

questions to ask when encountering music:

what movements and manners does it map out? what elegances does it encode? what excellencies?

what sophistications of understanding and attainment?

what does it aspire to?

what is the good life?

how is time structured? and what pace does it move at? what does it feel like to be in a body moving at that tempo, and in that rhythm? is this a fairground ride or is it otherwise?

can you imagine talking like that? walking like that? feeling like that? where is the weight centred? are you light on the feet? marching?

do you not like it? what is it to not like it? what is causing the discomfort?

do you like it? what is it doing to you that feels good? why does it feel good?

is it redolent of an era? which era? what is it that ties it to its time? or what is it about its time that is preserved within it?

a comportment? a psychological attitude? a bearing towards the world? how is that enacted in the music?

what motions does it describe?

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you've got two options for how this thread goes. all posters have to engage in it, it's too universal no to.

Option 1:

Rolling thread in which different dissensians take turns posting some music everyday and people answer Luka’s (or the following) questions:

What kind of movement/physicality is the music evoking?

How does it affect your perception of space and time?

How does it engage each of your five senses?

What kind of emotional state is it aspiring to?

What social outlook/context is it eliciting?

Anthropomorphise the music; who is it? What does it feel like to be them?

What imagery does it conjure?

How is it arousing all those responses in you?



Option 2:

A discussion about music evokes movements, emotions, shapes, class, colors, textures, attitudes, imagery etc. Really get deep into the components of it. Give examples; close readings like in literature.

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You've mentioned Blake, which is the cracked window I'm going to shove some Milton through

'He through the armed Files
Darts his experienc't eye, and soon traverse
The whole Battalion views, thir order due,
Thir visages and stature as of Gods, [ 570 ]
Thir number last he summs. And now his heart
Distends with pride, and hardning in his strength
Glories...'

The proud erection of the macho fascist. (The Nazi/Roman salute a good example of this fetishism of stiff/straight lines)

Are we to hold various songs/choons under this evaluative microscope and see what happens?

An interesting one that's just popped into my head is funk - funk basslines - both stiff and supple, a music theorist would have to tell you how. Masculine sexuality, even militant.

i scribbled down those questions when i was listening to a song which made me think of a ballroom and that slow, controlled, graceful dancing, that atmosphere which to us seems airless and stifling.

there's a prescribed diction there, in the poetic sense. a range of motion which is appropriate and permitted, that excludes a whole host of other movements.

and again, this diction, is a diction of restraint and self-control, (among other things) so there are social attitudes encoded there, cultural values.
attitudes to what is permitted in the public eye as opposed to what is expected to be kept behind closed doors.
a kind of discretion.

so to draw in what corpseys saying, a funk bassline typically struts, there's a peacocking display you dont get with the jazz record which reminded me of a formal ballroom. and so a very different attitude and way of presenting the self and interacting with others.

the movements are jerkier, syncopated, more violent, but it's a controlled and stylised violence
both musics could serve as soundtracks for courtship, both musics are dance music, primarily, but how different they are, and how much is opened up by comparing the two.

i think it was on i love music someone was watching one of the deja vu videos, possibly conflict, and they said both titch and kano did 'the walking dance' at some point in the set, and titchs was jerky and twitchy aggressive and overbearing, and when kano did it it was smooth and fluid and that they way they did the walking dance was the exact cognate of the way they mc'd

it was well observed. these are ways of being.
a bearing. a set of assumptions about the world at large, about other people
and the society you are embedded in.

whether you doff the cap or walk with your nose in the air.
whether you stoop or strut.

Deference bows the body
Servility is bad posture

or you can think about the rastafarian notion of the 'deep medi' the mind slowed to profound contemplation and how that is modelled and induced by roots music and by dub.
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this is the sort of thing im getting at when i ask

what elegances does it encode? what excellencies?
what sophistications of understanding and attainment?
what does it aspire to?
what is the good life?

what happens when you slow the time-pulse?
weed does this of course. elongates the moment.
you become less reactive. you can examine
thoughts and feelings as they emerge
turn them around in your hands
like a vase.

what about the adrenaline dump you get with amphetamines?