"The narrator of the story appeared in a porn video when she was twenty-two and needed money. Since then, she has been interested in sex only when watching the video or imagining other people watching it. Do you think the experience was damaging for her? Or did it fuel something positive in her life?
I think the assumption is always that these experiences are regrettable and traumatizing. But I never write from a stance like that—there isn’t some pure, undamaged human type that I think we should all try to be. I’m always interested to hear how a woman conceives of herself as a sexual person, because there is really no map for this, only a series of contradictory and shaming warnings. So whatever any of us comes up with is going to be wholly unique and perhaps a little monstrous—like a creature that has survived multiple attacks yet still walks, still desires. It sounds too extreme and valiant when I spell it out. In the story, you can tell that this is just ordinary stuff." - Interview with Miranda July --> https://www.newyorker.com/books/this-week-in-fiction/fiction-this-week-miranda-july-2017-9-4
"For Erykah Badu, phones aren't just emoji factories or Candy Crush receptacles—they're mystic devices that can span time and space, heaven and Earth. According to Badu, phones can enhance our ability to communicate deep desires across oceans, but they can also jumble our meaning with static or frustrate with busy signals and voicemail. As an extension of ourselves, phones can be heartbreaking, lustful, smart, dumb, noisy, distracting, powerful." - https://pitchfork.com/reviews/albums/21319-but-you-caint-use-my-phone/
"Because MindGeek owns both porn aggregator sites as well as porn production sites, actors and actresses that work in MindGeek’s porn production business will regularly see their films hosted illegally on the aggregator sites. Of course, MindGeek doesn’t mind this, as they make money from advertisements anyway, and the actors and actresses obviously suffer." - https://medium.com/five-guys-facts/8-19-16-davis-ce6771141589
Under the brand name Corcraft, the New York State Department of Corrections sells commodities made by prisoners—from lab coats to office furniture to barbecue grills—to other government agencies and nonprofit organizations. Entry-level wages were recently reported to be sixteen cents an hour. Rowland, a politically minded young artist based in New York, registered Artists Space as a Corcraft customer—they are number 91020000, which is the show’s title—to procure the materials for this installation, a pointed critique of the correctional industrial complex. Six aluminum manhole extenders suggest a riff on minimalism. A particleboard office desk from the Attica line is more mundane. But every object here is a readymade fuelled by a reformer’s agenda—Duchamp by way of Angela Davis.
"Shulamith Firestone’s program in The Dialectic of Sex (1970) isn’t just insane for wanting to outsource childbirth to the machines. The automation of gestational labor is a modest proposal next to the notion that humankind should be reproducing at all. What’s crazier, believing in people pods or just believing in people? " - Andrea Long Chu
Compare Valerie Solanas in the SCUM Manifesto (1967), skeptical of even her own plan for cybernetic parthenogenesis: “Why should there be future generations? What is their purpose?” - Andrea Long Chu