I see it as a fashion statement capturing our age in honesty. Today's times guarantee women safety no matter how they dress:
[You must be registered and logged in to see this link.] - says a woman dressed like that and who wants to dress like that against rape.
There's a commenter there rebuking another in favour of that woman and women in general being given the right to express their total sexuality as much as ones in total hijab/nikab to present themselves the way they want to on the other extreme as well:
To him, I suppose, masculinity is about self-control no matter how the other dresses.
"A New York Times style magazine photo display of the actress Julianne Moore shows the positive delight in ugliness that characterizes the elite fashion world. Moore resembles a corpse or one of the subhuman sculptures of the artist Alberto Giacometti. One expects to see snakes in her hair. What is the purpose of hideously deforming a beautiful woman in this way? The purpose is to affirm ugliness, a pressing necessity in the desert of fashion, where beauty cannot be explained or defended. The photos remind me of the words of the Orthodox thinker, Fr. Seraphim Rose, about Giacometti’s art:
Even more revealing than the bodies of these creatures are the faces. It would be too much to say that these faces express hopelessness, that would be to ascribe to them some trace of humanity which they most emphatically lack. They are the faces, rather, of creatures more or less “adjusted” to the world they know, a world not hostile but entirely alien, not inhuman but “a-human.” … Man, in this art, is no longer even a caricature of himself; he is no longer portrayed in the throes of spiritual death, ravaged by the hideous Nihilism of our century that attacks, not just the body and soul, but the very idea and nature of man. … The new art celebrates the birth of a new species, the creature of the lower depths, subhumanity. [Nihilism: The Root of the Revolution of the Modern Age, Fr. Seraphim Rose, 1994]"
i'll start with alexander mcqueen. when i first saw his work, i was really astounded. the amount of literary content contained in every collection was beyond anything i had seen before. it made me curious to know if he writes, or if fashion was his sole expression of that part of himself.
the truly impressive part though, was that literary content never seemed to sacrifice either aesthetic appeal or attention to the human body.
Gender : Posts : 21912 Join date : 2009-08-24 Age : 54 Location : Flux
1. that depends on the fashion. it can do both. 2. i question that assumption. 3. that is not a question about fashion. 4. that is a good question. if you recall the preppy trend in the early 80s, it was unisexual. i'd guess that it has a lot to do with psychological issues in the culture. 5. do men lie to get a woman in bed? how does the woman not know?
Gender : Posts : 21912 Join date : 2009-08-24 Age : 54 Location : Flux
A garment always hides, redirects and accentuates...if it does not simply offer coverage, such as in primal systems, when garment was purely functional. The industry is built on vanity, offered through fags who know all about male/female dynamics.
2. i question that assumption.
Excellent...an if I "question any assumption" what have I said?
3. that is not a question about fashion.
Did you not give us an opening for fashion....trends....popular, in-vogue, coverings? The industry? Do you only ant to gossip about personalities?
4. that is a good question. if you recall the preppy trend in the early 80s, it was unisexual. i'd guess that it has a lot to do with psychological issues in the culture.
Yes..and what would you say the trend is now?
Does not fashion also compensate?
5. do men lie to get a woman in bed? how does the woman not know?
As do men. In response women evolve the ability to perceive pretense.
Then, in reaction to this, what happens?
Trivers, Robert wrote:
If…deceit is fundamental to animal communication, then there must be strong selection to spot deception and this ought, in turn to select for a degree of self-deception, rendering some facts and motives unconscious so as to not betray – by the subtle signs of self-knowledge – the deception being practiced. Thus, the conventional view that natural selection favors nervous systems which produce ever more accurate images of the world must be a very naïve view of mental evolution.
Time to wake up, my sweet.
Males wish to impress, as do females. Pretense is part of the sexual game. Yes...exaggerations, or, lies, as they are called.
A close look at the eccentric [You must be registered and logged in to see this link.] of Nate Hill on Instagram, and the intersections of race and power in the age of social media.
There’s a guy on Instagram putting naked white women around his neck for sport. Posting under the account[You must be registered and logged in to see this link.] and at [You must be registered and logged in to see this link.], Nate Hill is soliciting white women—mostly nude but also occasionally minimally dressed—and then hoisting them over and around his shoulders like, well, scarves. Hill, who is black, always appears dressed formally in a suit and bow-tie and large plastic glasses; the women, in their various states of undress, appear casual and their individual characteristics are largely irrelevant. The account is home to a combination of so-called trophy scarf photos—some of them are mirror selfies, many of them obscure the women’s faces, all of them are of grainy, indelibly cell phone quality—and screenshots of text message and email communications with the women qua scarves. In the messages, Hill specifies that only white women qualify for the project, and that they must be under 140lbs. Since the first image was posted a month ago, Trophy Scarves has amassed just over 3,500 followers and earned a growing chorus of confusion in response. Trophy Scarves’ description reads, “I wear white women for status and power,” but offers nothing else in the way of explanation for the madness. The effect is sinister to say the least, but appears fundamentally misogynistic at worst. It is presented as an unadulterated fetishization of white womanhood, a literal representation of the way women have been treated as property, objects to be sexualized and mere accessories to men. The racial aspect in particular is front-and-center; for myriad reasons, and in large part thanks to the inextricable links between patriarchy and racism, white women have been considered the ultimate trophies for black men. The racial aspect in particular is front-and-center; for myriad reasons, and in large part thanks to the inextricable links between patriarchy and racism, white women have been considered the ultimate trophies for black men.
So what does that mean for Trophy Scarves? "Well, there are people who see certain races as status symbols, and someone had to comment on that," [You must be registered and logged in to see this link.]. Hill is a performance artist who makes self-avowed “socially engaged work using public space.” Previous projects include a commentary on racism in which he dressed up in whiteface. The artist’s context clarifies his intent, but whether or not he’s successful is subjective. However, beyond the particulars of Hill’s project, which can easily be written off as either a valid commentary on race as status or a stereotypically vacuous exercise in modern performance art, his choice of Instagram as the primary venue for the project offers interesting insight into the social network’s expanding value. The world scoffed at Facebook last year when it handed over $1 billion to buy Instagram; it was surely a sign of the impending tech bubble, analysts and observers insisted. After all, how much value could there be in sharing photos of cats and omelets, even if there were millions of them? But now, a year later, as Instagram's use case scenarios cut a wide swathe—from selfies to flea markets to snitch intimidation campaigns —the photo-sharing network is doing more than providing a convenient interface through which to post images. It is in fact contributing to the erosion of the walls between private and public by allowing users to effectively determine the intent of their posts and profiles, and therefore their virtual locale. Hill presents the Trophy Scarves account not as a totality of himself like conventional users do with their profiles, but as a specific, predetermined, goal-oriented entity. Hill uses Instagram like another artist would a gallery or a public space, taking advantage of the flexibility of social media to make a point that would be difficult to execute elsewhere. It brings to mind [You must be registered and logged in to see this link.], whose Instagram account is composed entirely of selfies that in aggregate are much more than the sum of the individual photos It’s unlikely that Instagram will ever be $1 billion worth of art, but every post is a step in the right direction. Rawiya Kameir is a regular contributor to Complex, and has written elsewhere for The Toronto Standard, Thought Catalog, and Time Out New York . She tweets often at [You must be registered and logged in to see this link.].
Lyssa, that is hilarious! Thanks for sharing that gem.
Slut, I find you continuing to make comments like this;
"I could have posted a picture of me half naked showing off my 6 pack abs if I wanted to, really, get the ladies wet down stairs."
more hilarious; keep on with it.
Slut, let me ask you,,, since you go about preaching Might is Right, and Total Anarchism and sheer destruction and going beyond good and evil as an index of your strength and masculinity,,, would you violently rape a girl? Have you raped a girl before? Is Might Right?
Regarding the first post, number three is to me the Homer Simpson look. The bloke couldn't fix his fence and it ended up all over his face! And picture five- the model wearing the mask looks like a guy (or should I say narcissist?) from my old philosophy class. Needless to say he's rejected philosophy now as it doesn't have enough utility for him...
Lyssa Har Har Harr
Gender : Posts : 9031 Join date : 2012-03-01 Location : The Cockpit