^iv8drf8 ![[AVANT-ARTCORE]] a simultaneous ironic and affirming attitude toward [[Pornography]]  the main technologies of parapornography extract poetry from the postpornographic condition  to brithely create art out of [[Pornography]] - eroticism as an art beyond the ecstacy of orgasm, liberation of the desiring gaze  what is there to reveal when the representations of uncovered sex teases our eyes all day long -- delivering new promises of reality -- an orgiastic finality  * portraying the body as an infinity of moving prisms - a higly relativistic space-time based on a non-euclidean anatomy – * a prismatizing motion  * mechanical reproduction - to blur the line between animal and machine in man to create a restless poetic excitement   * the infinity of revealing  * the exploded affection theory * the critical will to power  * the accumulation of revelations   ![[X REELS]] <iframe src="https://player.vimeo.com/video/272784002" width="640" height="360" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe> \ In the 1980s, Michel Foucault and [[Guattari]] each followed different paths to arrive at the **conclusion that the production of [[subjectivity]] and the constitution of the "relation to the self”** **were the sole contemporary political questions capable of pointing the way out of the impasse** in which we still continue to founder. ^k4s8l4x Each in their own way they revealed a new dimension irreducible to power and knowledge relations. [[Guattari]] speaks of the urgency through which [[cinema]] can alter all systems of discourse through signification. Here the image creates a spatial rupture that dislodges our relation to it as part of a serialized nostalgic ‘before’ and an anticipated or expected ‘after’. Similar to the legible image and the sadistic gaze (which is most often accepted as the transgressive sexuality of [[cinema]]), [[Guattari]] sees the **capitalist eros [as making) itself the accomplice of what is forbidden. This economy of transgression polar is the desiring production in a game of mirrors that cuts it from all access to the real and catches it in phantasmatic representations.”** Like [[cinema]] itself, capitalist Eros uses forms and desires as deferred objects of worth.  r Deferring objects to empty signifiers delays their affects; a mirroring that reflects endlessly, All signifying systems from law to art play this game of delay. All exploit their capacity to endlessly refer desires and pleasures to dematerial empty economic structures. Each desire event is bled of singularity. [[cinema]] is real, however. It is material and forcefully affective, while the world of capitalist Eros is _a world-made-cinema_, as reflection rather than creation. Even in [[cinema]] that adheres to the most traditional significations and patterns, there is always a residue of pleasure. This is a "cinematic" feel or a risky, excessive, [[semiotic]] moment, the genitals take their seats in [[utopian]] places, non-places that make everything come into place, _there is a parapornographic movement._ In a similar way, parapornography wants to use its special technologies to combine and surpass two conflicting events: the pornographic event and its moral twin, the antipornographic event. The power to read and extract ecstasy from the pornographic-antipornographic complex is closely related to a prominent feature in parapornography: ambiguity. The utopia that haunts [[Pornography]] is homogenous, clean, essentialist. It confirms the traditional social roles, even if it simultaneously acts out antisocial desire in an excessive way. It is true that it extracts enjoyment from role-playing that materializes conflicts between classes, genders and generations: the secretary and the director, the police officer and the activist, the head teacher and the naughty student, the adult man in schoolgirl uniform and so forth. But as in [[postpornography]], this play tends to be directed in accordance to certain pre established principles. In its ambition to change [[Pornography]] into something more humanistic, feminist, socialist, queer, ecological, fair, equal, – a sort of "capitalism with a human face" the postpornographers often lose their grip on the use value of masturbation. While the antipornography movement takes the place of censorship and acts as a designer and regulatory apparatus of [[Pornography]], postpornography empties [[Pornography]] of its life and plays with the dead exoskeleton. What's the difference between parapornography and postpornography? There are overlapping parts. But generally speaking, postpornography tries to reform [[Pornography]] and use its expressions for the purpose of morally good aesthetics and politics, while parapornography, on the contrary, focuses on the excitement in [[Pornography]] - the mechanical, the productivity of power relations, the endlessness of uncovering - in order to create an orgasmic poetry or, in other words, an endless orgasm.