Eroticism

Yes, but isn't the eroticism of these things made more palpable because they are fleeting, and it is the memory of these things that make them erotic?

Forgive me...I'm playing devil's advocate here. I really should stop being so contrary...😊
 
These pull at my heart strings. Achingly sad, crushingly painful, and compel me to drown in them. I wonder what it is about these images. Perhaps its the way the spaces these figures inhabit drown them, or that they seem to be mere fleeting presences as they disappear from our sight. I see myself in them, in their ghostly, almost somnambulic restlessness.

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Where women gather, there is a soft burning of intimate understanding. Words are nomlonger currency, but touch, presence.

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These pull at my heart strings. Achingly sad, crushingly painful, and compel me to drown in them. I wonder what it is about these images. Perhaps its the way the spaces these figures inhabit drown them, or that they seem to be mere fleeting presences as they disappear from our sight. I see myself in them, in their ghostly, almost somnambulic restlessness.

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These all speak of yearning to me, for what might have been. Something deep and sensual and a knowing that one is denied.
 
I think the eye prefers curves to straight lines. But we live in cities of straight lines, such a tyrannical regime of lines that brooks no resistance. So, when we see curvilinear forms, we give it a name - Eroticism
These thoughts and definitely these images cause pure burning to feel, touch, taste down to the heart and soul.
 
Renata Litvinova has the look of a She-Wolf, silent, deadly, strong, commanding. But she also has the aura of a cat, sensuous, fluxuous, oozing a kind of charisma that melts me each time I come across her.

Her germanic roots are palpable, a conquering prussian/Viking aesthetic, but it is tempered with the grace of a divinity. It must be the way she holds her gaze, the way she is supremely aware of her body's capacity to bend to her will, her modulated look, the eyes themselves art forms.

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Here recorded is my love affair with the oversized shirt, white preferably. I think its the way it only insinuates the form while drowning it, the way it hangs, soft, restful, like light gossamer, so that it hugs the shoulders and them hangs languorously down over the form which is only implied, but never made overt.

A garment that exudes nonchalance, but it all the while oozing...

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She is a closed shell, cloistered reverence to the temple of her soul.

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She transacts with dead souls, whose words are etched on paper wings flutering in the palm of her open hands. Rarely, if ever, she looks at you with any sign of desire, so keen is she in the art of retreat.
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Her mind, ah! her mind is a box of bees, ricocheting against the wooden encasing, thud-thudding in calamitous frenzy.

But only say to her, you are free, come, be what you have been and what you will be, then, and only then, she smiles. 23e804c6d44a7ec3812ef8c0301f68cb.jpg
 

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If this is seen not just in terms of desire, but also dominance and ownership, this seems like such responsibility! To bear the weight of feeling responsible for war, indirectly for it may not be her who schemes, or that she is so beautiful as to be an object, or symbol of power, and seen as the glorious prize! This reminds me of invasion, besiegement, greed & bloodshed. To abduct the most beautiful woman in the world would be to capture the greatest treasure! Though I don’t see Helen as passive and powerless… I’m sure she took advantage of her power. But in other fables I can imagine the woman as completely objectified.

But perhaps not all beauty is innocent, wasn’t it Lady Macbeth who questioned manhood to the point of murder? Despite the harm, there’s something erotic about being so completely obsessed with a woman’s beauty as to be manipulated to her will.

Many men will go to any lengths to to satiate the hunger caused by obsession, love or seduction.

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I've been reading Alison weir's brilliant account of the the war of the Roses, and I had already known that Margarate of Anjou was quite a important figure of that war, but she, it now appears to me, was so instrumental. It was at her behest, married to an ineffectual henry VI, who or may not have been the father of Edward, her son, who was to be, but never was the next kind (having been killed by Richard of Gloucester, later Richard III), and her many men who swarmed around her, doing her bidding. These men wasted countless innocent lives, ruined a whole kingdom for the love of one woman bent on destroying the Yorkists.

I don't know how this responsibility is to be born. But it is a tragic lining, and with each silhouette, or shadow of a woman, i see this tragedy embossed in it.

Perhaps I am romanticising this just a tad. Forgive me all! xx
 
Velvet. That's what I think about, that's how I feel when I am with women, or think of women, when a woman kisses me, or cups my cheek in her palm. I feel the same velvet when a man's hand claims me, my neck, my buttocks, the inside of my thighs.

I think it's not so much the touch that does it, but my own awareness of my body. When I am touched, my mind or consciousness detaches from my body, and I rise above the scene, looking down, and I see, as if watching a play, or as if chancing upon a secret moment between two people, I see myself held, I see my body pursued, desired by the one beholding me, and then I think, velvet!



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I evoke light again, because I never cease to enjoy its many gifts. Light brings the new day, and my body’s place in its vicissitudes, its contours, its manifestations. Light casts visions of simple pleasures, like the shimmering wing of a bird in flight, or the silhouette of a longed for moment of comfort, or joy.

Light is a kiss, an embrace, a curtain unveiled, a knife slicing open my heart to reveal my need, soft, insistent.
 
I evoke light again, because I never cease to enjoy its many gifts. Light brings the new day, and my body’s place in its vicissitudes, its contours, its manifestations. Light casts visions of simple pleasures, like the shimmering wing of a bird in flight, or the silhouette of a longed for moment of comfort, or joy.

Light is a kiss, an embrace, a curtain unveiled, a knife slicing open my heart to reveal my need, soft, insistent.
Beautiful images! Are you the model? I especially love the way the light and shadow take so many forms in Image No. 5 (great legs and ass, by the way). Yes, light embraces form.
 
I evoke light again, because I never cease to enjoy its many gifts. Light brings the new day, and my body’s place in its vicissitudes, its contours, its manifestations. Light casts visions of simple pleasures, like the shimmering wing of a bird in flight, or the silhouette of a longed for moment of comfort, or joy.

Light is a kiss, an embrace, a curtain unveiled, a knife slicing open my heart to reveal my need, soft, insistent.Is there a relationship between ā€œclassā€ and eroticism?
So, I think there is a difference between Eroticism and pure sexuality. While the sexual can also be erotic, the erotic is often not necessarily sexual.
George Battaile said once that eroticism as thriving when it breaks prohibitions, goes beyond the physical, into something else, something we can’t express but feel. Perhaps, he is referring to o something similar to what the Romantics called the sublime.

So this thread is about the erotic, moving away from the sexual to something being it, something more sublime.

Hopefully we can work out what eroticism actually is.

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Hi! Well.. I’ll have a go.
I think the ā€œeroticā€ combines ideas, feelings, experiences, memories within an implied sexual context to create an irrepressible, spontaneous, powerful and positive feeling in one’s being that life is good and worth living. I guess sometimes there’s feelings of longing and hope, perhaps even envy, in there as well, well, definitely for me…, not in a bad way, just kind of bitter sweet..
Of course, all of these things are very subjective…
Thanks for a good thread.
 
Does anyone see the images I posted in my last post? I don’t see them? Is that just me?
 
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