pornegrafo

the faggot forge: 
ready for a half-light secretive homo dark rite

‘ homos is the name for a little known strain of men-loving-men who claim not only to be the only true homosexuals, but to possess an unbroken lineage into prehistory and including all great sodomites.

this secretive and selective tribe/cult/order perform their dark rites, (including a penchant for the best dance clubs, sex venues and opera) openly in urban centers, but remain notoriously difficult to identify. they loudly mock gay mainstream cultural practices as ‘an unnatural and perverse aping of the idiotic behavior of normal humans’.

these men seem to prefer the half-light of the ‘open closet’, not only for its superior lighting possibilities, but for it potential for lusty primal adventures. homos are feared by some breeders for their recruitment of the young, but this is an exaggerated anxiety, since they only accept truly exceptional volunteers into their fold.

their social system is reportedly based on that of the wolf pack, but eschew the term ‘wolf’, (not to mention ‘judgmental fashion bear’). it is said they marry their friends rather than their lovers, but no one has been to one of their marriage rites (and lived). they live in polyandrous and polygamous mini-utopian communities.

a loose network stretches worldwide whose trails lead back to berlin. when approaching one or more of these men, act with extreme caution, as they are know to be dangerous or at least very edgy. ’
                           homo-online

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_refs: *homos* entry in the ‘uranian dictionary’ (berlin.2011) by homo-online
+ unidentified model in ‘manpower’ #3 (1990’s)
+ val martin in ‘honcho’ (jul.1981)
+ pissing skin/punk (2008) by nicolas brunet (see his baddognobiscuit.tumblr)
+ illustration by richard white a.k.a. raw in ‘honcho’ (may.1981)

there’s something dirty in me
 

’ all of us are pure scientists exploring different levels of fact and if we turn up something nasty we’re not to blame. if someone finds a real nasty-looking microbe, is he going to stop because some idiot comes along and says: pornographer! i must say that my whole family was nauseated by the sight of your slides! you and your filthy pictures!
now when they see in your pictures that are obscene from their point of view, they don’t dare say so. you painters can be as nasty and dirty as you like and people don’t see it as quickly or simply they don’t dare say because it would be too much of a rare reflection on themselves. ‘i’m seeing that in there, so there’s something dirty in me’. ‘
                            william burroughs

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_refs: text extracted from ‘ports of entry’ by william burroughs (1914-1997) found in ‘brion gyson tunning in to the multimedia age’ (2003) edited by josé férez kuri. 
+ ‘contact’ by don hanover in ‘honcho’ (jul.1978)
+ illustration by rohr in ‘projetX’ #20 (jun.1997)
+++ more info on brion gyson (1916-1986)

desires illustrated:
the armour of gesture


’ kid, this is it …continue and step headlong into chance … shit … the chance to love so entirely that you merge in some sense in another head and yet that chance of being open to another knock in the head and heart if it falls through … even in the end you know that it’s the gesture, that gesture towards loving that is the most important in the stream of live and conciousness and body and grace … so we are rolling along ’
                         david wojnarowic, 1978

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_refs: ‘in the shadow of the american dream: the diaries of david wojnarowicz’ (2000) edited by amy scholder 
+ bo richards in ‘honcho’ (nov.1981)
+ punk (2008) by nicolas brunet

ps:
for more of david’s diaries see this

desires illustrated:
urban sexual entrepreneurs

‘ i dream’d in a dream
i saw a city invincible to the attacks of the whole of the rest of the earth,
i dream’d that was the new city of Friends,
nothing was greater there than the quality of robust love, it led the rest,
it was seen every hour in the actions of the men of that city,
and in all their looks and words.’
      walt whitman 

 

_refs: extracted from ‘leaves of grass’ (1860) by walt whitman (1819-92) 
+ henry romanowski in ‘zeus odyssey #1’ (1985)
+ tony bronte in ‘zeus collection’ (1982) 
+ ron stevens in ‘male’ #4 (1979)
+ life drawing study by j.c. leyendecker  (1874-1951)

desires illustrated:
silent carcasses of desire

’ wanking in silence, exchanging passwords:
the world, excluded, remains silent
about those who have excluded themselves,
silent carcasses of predators.

but from the world’s trash
a new world is born,
new laws are born,
where there is no law
a new honor is born
where honor is dishonor …
a ferocious nobility and power is born
in the piles of hovels

in the open spaces ’ 
               pier paolo pasolini

 

_refs: free translated fragment of ‘sesso, consolazione della miseria‘ in ‘la religione del mio tempo’ (1961) by pier paolo pasolini (1922-75)
+ ‘wrestlers sparring’ (1980) by william gale gedney (1932-89)

etching the countenance: 
redefine the erector sensory disks

’ because i am born into a created system of corruption, does not mean i have to turn the other way when the fake moral screens are unfurled. i am just as capable of creating my own moral contexts. in fact, using our government’s techniques, i can reinvent and redefine a screen for my own needs. since my existence is essentially outlawed before i even come into knowledge of what my desires are or what my sensibility is, then i can only step back from the arms of goverment and organized religion and use similar techniques to walk from here to there.

(…) i’m the robotic kid with caucasian kid programming trying to short-circuit the sensory disks. i’m the robotic kid looking through digital eyes past the windshield into the preinvented world. i’m the robotic kid gone haywire in the sudden mounds and coils of krazy-kat landscapes. i’m the robotic kid lost for a fraction of evolutionary time in the outskirts of tribal bounderies; i’ve slipped through the keyhole of an enormous psychic erector set of a child civilization. i’m the robotic kid lost from the blind eye of goverment and wandering the edges of a computerized landscape; all civilization is turning like one huge gear in my forehead. i’m seeing my hands and feet grow thousands of miles long and millions of years old and i’m experiencing the exertion it takes to move these programmed limbs. i’m the robotic kid, the human-motor works, and surveying the scene before me i wonder: what can these feet level? what can these feet pound and flatten? what can these hands raise? ‘

david wojnarowicz, 1991

 

_refs: ‘in the shadow of the american dream. soon all this will be picturesque ruins’ in ‘close to the knives: a memoir of disintegration’ (1991) by david wojnarowicz (1954-92)
+ ‘david’ (2012) black ink on paper (13x18 cm) by heretik.radikal (1965- )

etching the countenance: 
i dreamed that was the new city of friends 

‘ passionate attachment of man to man seems to promise, when thoroughly develop’d and recognized in manners and literature, the most substantial hope and safety of the future (…) it is to the development, identification, and general prevalence of that fervid comradeship … that i look for the counterbalance and offset of our materialistic and vulgar American democracy, and for the spiritualization thereof.

many will say it is a dream, and will not follow my inferences, but i confidently expect a time when there will be seen, running like a half-hid warp through all the myriad audible and visible worldly interests of America, threads of manly friendship, fond and loving, pure and sweet, strong and life-long, carried to degrees hitherto unknown.

the full development of manly friendship would not only give tone to individual character, making it unprecedently emotional, muscular, heroic, and refined. such friendships would also have the deepest relations to general politics. i say democracy infers such loving comradeship, as its most inevitable twin or counterpart, without which it will be incomplete, in vain, and incapable of perpetuating itself. ‘

walt whitman, 1892

_refs: ‘prose’ (1892) by walt whitman (1819-92), found in ‘love stories, sex between men before homosexuality’ (2001) by jonathan ned katz (1938- )
+ ‘walt’ (2012) black ink on  paper (13x18 cm) by heretik.radikal (1965- )

etching the countenance: 
parody of the system

‘ one is not a revolutionary just because one is a homosexual. what i mean to say is that there are some homosexuals who wish to affirm their difference and their special quality, and this need leads them to unmask the arbitrary character of the system in which they live. but there are others who wish to pass unnoticed and to blend into the system, therefore strengthening the system. 

let us say that homosexuality should lead the homosexual to indict the system; but, in reality, the system is a source of so much humiliation, fear, and panic, and is often far stronger, that it forces a homosexual to dissemble and to bow down. when a pederast dyes his hair blue, he is able to launch a revolutionary programme by himself; but when, after dyeing his hair blue, he beefs up his breasts with hormones and goes to live with a man, he is merely parodying the system. he is keeping up appearances and not challenging anything at all. society is amused. he becomes a kind of curiosity, which the system is quick to digest. ‘

jean genet, 1970’s

_refs: extracted from ’genet: a biography’ (1993) by edmund white (1940- ). transcribing a conversation between jean genet (1910-86) and three black panthers as asked whether his homosexuality helped him to become a revolutionary.
+ ‘jean’ (2012) black ink on paper (13x18 cm) by heretik.radikal (1965- )

etching the countenance:
ejaculation of time mutation lifelines 

’ the physical body is not designed for space conditions in present form. too heavy, since it encumbered with a skeleton to maintain position in a gravity field.

polititical structures are increasingly incompatible with space conditions. they are inexorably cutting our lifelines to space, by imposing a uniformity of environment that precludes evolutionary mutations.

if you intend to destroy an individual or a culture, destroy their dreams. this is happenning now on a global scale … the universe they are imposing is controlled, unpredictable, dead … it is clearly an extermination program. ‘

william burroughs, 1987

_refs:  ’the western lands’ (1987) by william burroughs (1914-1997) 
+ ‘bill’ (2012) black ink on  paper (13x18 cm) by heretik.radikal (1965- )

hard roses.
a night of sensual delight 

’ like beautiful bodies of the dead who had not grown old 
and they shut them, with tears, in a brilliant mausoleum, 
with roses at the head and jasmine at the feet —
this is what desires resemble that have passed 
without fulfillment; without any of them having achieved 
a night of sensual delight, or a morning of brightness.’
                                                    constantine p. cavafy 

 

_refs: ‘desires’ by constantine p. cavafy (1863-1933) published in ‘before time could change them: the complete poems of constantine p. cavafy’
+ ‘man lying on stomach in dirt while another walks on his back’ (1980) by william gale gedney (1932-89)

desires illustrated: 
live semen and wholesome flesh

.

’ in the beach‐months of 1946, the magic squalor of those hot nights, when the whole shore was alive with tongues of flame, the watchfires of a vast naked barbarian tribe - each group or pair to itself and bothering no one, yet all a part of the life of the tribal encampment - swimming in the darkness, cooking fish, dancing to the radio, coupling without shame on the sand. george and jim (who had just met) were out there amongst them, evening after evening, yet not often enough to satisfy the sad fierce appetite of memory, as it looks back hungrily on that glorious indian summer of lust ‘
         christopher isherwood 

.

_refs: ‘a single man’ (1964) by christopher isherwood (1904-86)
+ illustration for ‘big bang’ by kent in ‘mandate’ (2006)
+ illustration for ’south-of-the-border orgy’ by kent in ‘mandate’ (nov.2003)
+ bo richards in ‘honcho’ (nov.1981)
+ barry & van roberts by target
+ ‘summer of lust’ uncredited 

ps:
’completely unrestricted, the beach permits a full range of unabashed erotic contact and play. this ‘bohemian utopia’ supports free and open sex as well as a kind of pagan embrace of nature.‘ … for a queer ecological reading of christopher isherwood’s ‘a single man’ you may read the stimulating essay ‘warm blood and live semen and rich marrow and wholesome flesh‘ (2011) by jill e. anderson.

das urin: 
a stream of yellow 

’ the essence of my craving for piss comes, i think, from the sense of breaking free from the bonds of civilized society, the Pleases and Wash Behind Your Ears and Use Deodorants …   cleanliness has never been one of my ideals. a healthy body has smells, a physically active body has dirt on it. my gut produces gas, and when i fart i do not find the smell offensive. a dick naturally gets shit on it when it’s in an asshole … natural body odors and products, right? nevertheless, there are serious prohibitions against all of them.

out in the open road, having dick in hands gives the subconscious a little reassurance of familiarity, the knowledge that things are at least partly under control, that the piss isn’t just going to go flying any old place… pissing, even more than cumload, establish a place [or a man] as mine. dogs have known this for eons.

when i got into the gay world, it didn’t make me long to find men who wanted to piss on me. it turned me on. i eagerly drank it … now, i dream of meeting another man with a similar lack of inhibition, a stud who would feel no hesitation about pissing on me across the table as we’re having dinner; i yearned to live in a house that smelled like an urinal … i open the floodgates to the potential depth that could be plumbed in my psyche by just a stream of yellow. ‘
scott o’hara 
. 

_refs: text constructed from parts of ‘soaking in it’ by scott o’hara (1961-98) in ‘rarely pure and never simple selected essays of scott o’hara’ (1999) 
+ cal driver in ‘honcho’ (july.1981)
+ beau dubois in ‘chain male’ #1 (1970’s)

desires illustrated: 
watch out, the shit’s going to come now

.
.
.

’ a boy sitting on a low wall,
at the side of the road, which he ignores –
sitting there as though for eternity, sitting there in order to be sitting,
without equivocation:

“seated peaceably, doing nothing,
spring comes and the grass grows of its own accord.” ‘
                                                             roland barthes 

.
.
.

_refs: extracted from ’incidents‘ (1992, original from 1987) 
by roland barthes (1915-80) 
+ jake honda in ‘champion’ (pub.2004) by walter kundzicz (1925-?)
+ ‘oasis’ by paul irish in ‘honcho’ (oct.1982)
+ ‘new directions, nude erections’ (2011) by unclegrampy

ps:
the essays collected in ’incidents’, originally published in french shortly after barthes’ death, provide unique insight into the author’s life, his personal struggles, and his delights. the quote in these five lines comes from alan watts’s ‘the way of zen’; also cited from watts at the end of ‘a lover’s discourse’

the faggot forge: 
re_constructing deviance 

’ in recent years it has become increasingly clear that is essential to distinguish between on one hand, homosexual behavior, and on the other homosexual roles, categorizations, an identities. it has been apparent, since at least the 19th century, that homosexual behavior, has existed in a variety of different cultures, and it is an ineradicable part of human sexual possibilities. but what has been equally apparent are the ranges of different responses towards homosexuality. attitudes towards homosexual behavior are culturally specific and have varied enormously across different cultures and through various historical periods. what is less obvious is the realization not only that attitudes towards same sex activity have varied but the social and subjective meanings given to homosexuality have been similarly cultural specific. 

it’s no longer possible to talk of the possibility of a universalistic history of homosexuality; it’s only possible to understand the social significance of homosexual behavior, both in terms of social response and in terms of individual idenity, in it’s exact historical context.

[our various possibilities] are variously constructed in different cultures as an aspect of a wider gender and sexual regulation. the physical acts might be similar, but their social implications are often profoundly different. sexual unorthodoxy is somehow a quality inherent in individuals, to which the social has the to respond. 
over the past 20 years, however, it has been increasingly recognized that the social not only defines, but in part constructs the ‘deviance’. ‘
              jeffrey weeks  

the unruly member:
hangin’-heavy-hairy-horny (sweat)

                      [in remembrance on mike kelley]
. 

‘ [the phallus] confers with the human intelligence and sometimes has intelligence of itself, and although the will of the man desires to stimulate it, it remains obstinate and takes his own course, and moving sometimes of itself without license or thought by the man, whether he be sleeping or waking, it does what it desires; and often the man is asleep and it is awake, and many times the man is awake and it is asleep; many times the man wishes it to practice and it does not wish it; many times it wishes and the man forbids it.

it seems therefore that this creature often has a life and intelligence separate from the man, and it would appear that the man is in the wrong in being ashamed to give it a name or exhibit it. seeking rather constantly to cover and conceal what he ought to adorn and display with ceremony as a ministrant. ‘
leonardo da vinci

_refs: ‘della verga’ (of the phallus) is a text by leonardo da vinci (1452-1519) from his ‘dell’anatomia’ in his notebooks. [+info]
+ ‘Hangin’-Heavy-Hairy-Horny (Sweat)’ (1989) by mike kelley (1954-2012)
+ ‘le dieu priape’ (circa 1779-1795)’ by jean-jacques lequeu  (1757-1826)
+  joe paducah (aka pat webb) in ‘spurs’ #6 (1981) by c*olt

ps:
mike kelley said in 1994 … ’ it’s always a bit embarrassing to be a professional artist and to do sort of confrontational work and to know you’re basically like a neutered doggy. everything you do is fine and dandy. but at the same time, because i believe art is a symbolic act, it still has an effect on an ideological level. and that’s why i’m not totally depressed about art production. in fact, i think it’s important that it operates in the intellectual sphere. it isn’t just about brute force and slitting each other’s throat. that’s what politics are’ … [+] [+]