Pages on This Blog: Works and Documentation

Tuesday 21 February 2023

The Future of Personal Research, and a Bit More

 Having spent the past few months completing Fragments of a Punk Opera, working on my PhD upgrade 'exam' and with the odd dash of awkward reality (just for kicks), I've finally found some time to reflect on what I've accomplished so far - made possible by my upgrade process - and also where it'll all be going in the next couple of years, now that I seem to be firmly on course. 

Hardwired was featured in the recent art school research expo, and as such was able to reach a wider, and more general, audience - thanks perhaps also to my presentation on the subject and its themes at the expo opening: 'Digital Media as Means and Method of Individuation': DJCAD Research Expo '23 Talk and Presentation


The inclusion of the head as a faux 'surveillance device' which also reflects the gaze of the viewer (in a complete reversal of the Medusa myth of Perseus' shield) was an interesting choice, and suggests that works are ever rarely as complete as we think they are - when installation in a new environment can kick off exciting and additional ways of presentation and interaction. Having given four talks about this film in as many months to various audiences has also allowed me to analyse the strengths and weaknesses of the film (made almost exactly a year ago now) and how I can move forwards with similar, bigger, better works. A Punk Opera is certainly ambitious but needs equally thoughtful curating, something I'll begin thinking about soon.

The cyborg theme was also presented at the University 'Nietzsche, Science, Life & Art' symposium at the end of 2022, featuring an iteration of a drawing which features in Hardwired:



The graphic comix work made for last year's BRAW bursary is now on show at Generator Projects' Members' Show:



I recently also contributed to this article:

Inside the Wild and Highly Lucrative Erotic Art Industry

 written for Vice magazine, where I had much to say on the subject of kink and fetishization in art (most specifically on the pornographic 'shemale' form), but only a little of it was used - still, nice to be namechecked, and be out there in the media!

Having now pinned down the themes at stake and subject matter of what will be the second chapter of the thesis - the erotic art of John Howard and 'shemale'/futanari in general - I'm now able to consider how this leads into the proposed third chapter, which discusses webcam porn performance and the personal, and wider, issues therein. 

It'll be good to return to the thesis chapters with new, well-informed eyes and with any luck a coherent structure will soon begin to emerge. And with the confidence boost that I'm now a fully-fledged researcher, things ought to gain traction as the writing becomes more coherent, and goes on to inform further practice.




Monday 7 November 2022

Lo-fi thoughts and Shonky Reflections on 'Fragments of a Punk Opera'

 Working intensely on recording, writing, producing and filming more instalments of the 'Fragments of a Punk Opera', I've been reminded of the DCA exhibition 'Shonky: The Aesthetics of Awkwardness' which I attended in 2018, between 2nd and 3rd years of my BA. I recall the show making no impression at all upon me at the time, but it obviously stayed with me as I immediately thought back to it in terms of the form and methodology of that which is loosely-formed, rough, somewhat klunky - yet nonetheless still engaging or, I hope (with regards to my own work), at least entertaining. 

I routinely refer to my music adventures as 'lo-fi' and this is an accurate description, but it is also in keeping with the DIY aesthetic which is a signatory on the original punk manifesto. My method is basic, not by choice but by virtue simply of how it is: with no training in music production, I use basic means to create pretty basic music: the drumkit requires several hundred pounds worth of new skins and cymbals, and the main crash has a 2-inch split in it. Punk did everything it could with the rock 'n roll basics of bass, drums, guitars and vocals - one or two groups even incorporated keys, as I do too, albeit in a faux-jazz idiom which is still, I would claim, of punk heritage, as I have no formal or any other understanding of jazz and associated music theory (if it qualifies as jazz at all then it is genuinely 'shonky jazz', no?).

These jazz-ish moments may owe their inspiration to the classy sophistication of pop-musical geniuses Sparks via the smart-ass lyrics, but the production and attitude is more suggestive of the quirkiness found in early Adam Ant or the Stranglers. The works also reinterpret aspects of two previous (if not in fact still ongoing) bodies of work, 'Weimar' and 'A Punk Trilogy in 4 Parts': decadence, cabaret, dark humour and occasional historical and social references which all bounce around between the other recurring interests and obsessions - narrative, character, relationships, betrayal, heartbreak...and occasionally art, as in this track:


Herein, musical professionals will note missed beats, fluffed notes, flat vocals, hammy performances all round - none of which is done on purpose to simulate crude or raw aesthetics as a shallow raison d'étre, but is simply the results of "doing what I do". Sometimes the fluffs aren't noticed until well into the mixing process, and digital music editing can only fix so much. The Band Aid-patched results are therefore in full concert with the 'shonky' concept: I make music because I love it: it's an affair of the heart, not of the intellect. I do not try to polish the results too much: too-slick production would only highlight the fluffs and clangers even more, and make them sound much worse. A rough, hissy punk demo track can get away with a lot more than an HD production of 'Moonlight Sonata', in which instrumental perfection is expected.  

A recently-recorded track with a Sham 69 vibe, 'I Swear', humorously bleeps out the occasional swear words until the ad lib rant at the end, in which the f-bombs slip past the completely out-of-time censoring devices, thus not only calling into question the authority of the censor (which was wielded as hamfistedly during the original punk era as much as any guitar in the hands of countless young would-be upstarts), but also celebrating the subversive punk voice itself: despite all attempts to shut us up, we are still shouting:

For we know three chords, and we therefore are a band. 

As a working-class phenomenon, punk highlighted the élitism of the music world of its day, and levelled the playing field of musicianship (going on to inform various subsequent waves, and Grunge, in later decades). My body of work does not shun the economic divisions of society. The two main characters start off penniless, and possibly end that way, too (assuming they even survive). And does the millionaire gangster sit beneath a portrait of the late Queen Elizabeth II for reasons other than mere affection? Economic concerns are writ large across the 'Fragments' project, starting out from the reality of my need to replenish an entire drumkit and invest in a recording microphone (rather than merely yelling at the laptop), to the desperate situation of the two main characters, Steff and Jen. However, the levelling and liberating tendencies of technology, which originally allowed punk to flourish at street-level, have permitted this artist to realise their creative endeavours in a tangible form, in the same way that cheap Xeroxing technologies of the 1970s allowed fans and writers to publish and distribute their own 'zines, and no longer had to rely upon the stuffy music papers of the day for opinion and information.

Monday 31 October 2022

'Hardwired' Public Screening and 'Bad Money' Continues...

 As expected, my presentation of 'Hardwired' at DJCAD last Wednesday (26th) went splendidly well. Working with only a couple of sketchy notes, I managed to speak for 45 minutes around the 20-minute screening, thanks to a very engaged and talkative audience. As my first ever solo presentation/exhibition, I found it a very rewarding and exciting experience, and hope to do more of the same soon. 


Here is the full presentation, plus Q & A:


The layout of the event was exactly as I had first imagined it back in the Springtime - incorporating the sculptural Medusa work, printed flyers, and me presenting in character as Em in a snake print dress, which reflects the serpentine aspect of Medusa's myth. The feedback and discussion points surrounding the characters inspired me to push on with the nascent 'punk opera' concept ('Bad Money'), and a few days later I had a good demo song 'Madame Melodie Melody' recorded, from which grew a big musical production number and some semi-improvised narrative working around the slim storyline to date:


"I am the one, I am the law and the word. I am the beginning and the end. I take what I want and I get what I need At a profitable, comfortable dividend... You got a problem with that? You better go speak to the Lord, honey. He's the only one who's gonna save your godamn sorry ass now... 'Cos I am only a dame (But what a helluva dame) And while this world's my oyster, I will eat pearls and I'll poop caviar... We were put on this earth to do the best we can, and London town's my cloister And if you want a share, then you better beware 'Cos I'm (she's) a mean mutilator like Robespierre You said it boy, I'm the fellah's biggest fan I'm (she's) gonna get you any way I (she) can... So don't mess around with the Big Bad Melodie Ma'am... That's what I am."


Spot the Harry S Truman reference above...





This clip, filmed in part of the family house, involves me portraying 4 characters, stretching the concept of multiplicity of persona, and may be the most ambitious indoor musical video work to date, as a result. Synchronicity, a recurring theme within much of my creative work going back three decades now, resurfaces when reflecting upon the retro aspect of the Madame's interior decor and style (antique, Royalist, jazz) versus the younger, brasher youthful protagonists (contemporary, poor, punk). The flip.comes when we discover that Melodie is a furious atheist, as a result of Jen's blabbing about her devotion to prayer to resolve their economic situation. Intentional deadpan comedy now also infuses the work, as a means of propping up the stock/cliché character types (musical theatre, after all, isn't renowned for its depth of characterization), and one of the redeeming qualities of original punk was its cheeky and subversive sense of humour and occasional lapses into the elder generation's sphere of music hall and other popular forms (e.g. the piano singalong interlude in the Cockney Rejects' single 'The Greatest Cockney Rip-Off'). The movie musical has therefore some features in common with the porn film: neither can possess narratives or characters that are too deep or layered, due to the need to pack in sufficient 'crowd pleasing' scenes - both genres, too, tend to assume some level of 'audience participation' to be considered truly engaging. 

The whole artifice itself is attractive to me, in terms of my growing methodology with increased exposure - even celebration - of the limitations inherent in making works like this alone with no assistance. I would be interested in presenting some of the musical material live one day, perhaps as part of a multi-media exhibition of the punk cycle. Might the 'book' of such an opera be traditional, or radically rethought - whether in a Brechtian mode or some other alternative or subversive means? The libretti displayed as works in themselves which stand alongside, rather than being subservient to, the musical aspects?

Rather than constructing an entire genuine musical film out of these interludes, this body of material is now being dubbed 'Fragments from a Punk Opera', with fragmentation itself a recurring theme and methodology in my recent work (cf. 'Fragments of Amazonia' (2018), 'Fragments, Intermediaries', my MFAAH final exhibition in 2021, and as a subtext in the 2022 film 'Hardwired') wherein what is included is as relevant as the idea of what is not, or what is shown versus what is not shown. Which sections, stories, characters, from the over-arching narrative are deserving of having a song and dance made about them, and which ones not? Furthermore, the concept of connectedness itself can become the responsibility of the viewer, the audience, if the 'book' - i.e., the over-arching storyline, is left deliberately ambiguous, or even non-existent, providing only the libretti of each individual song. The old punk methodology of DIY - from printing and distribution (photocopied cut 'n pasted fanzines) to the music itself ('learn 3 chords, form your own band') - can therefore be applied not only to me as creator, actor, composer, musician, but to the audience who are invited to create their own beginning, middle and end from the selection of musical and other materials on offer. A 'random access' musical. Who are the villains and who the heroes? Why? True anarchy - make up the story that you want to see, not the one that is fed to you... (perhaps for this concept to fully work, some more ambiguity of character and motivation may need to be applied. But, as it stands - are Steff and Jen truly blameless? Is Melodie really irredeemable, if she regularly decapitates other gangsters, and furthermore, respects the Queen? Who's to say that Mr. Hookz won't let Steff & Jen 'off the hook' out of personal sympathy?) Furthermore, are there any links to my previous works - such as the similarity between the Melodie persona, and my work of a year ago, 'A/Object' and 'Untitled Sculptural Objects'?

There is potential for the humour to get blacker, and the art to become more artistic, in reference to one of my favourite films of all time: Peter Greenaway's 'The Cook, the Thief, His Wife & Her Lover', which also deals with themes of crime, betrayal, and revenge, concepts which have already begun to swirl around some of the newly developed lyrical ideas.  

Tuesday 18 October 2022

'Bad Money' and Good Vibes

So much of my art practice seems to revolve around recurring 'meta' narratives that I've long since assumed that my subconscious sense of creativity really does have some sort of master plan for a seemingly disparate collection of works produced over a number of years (or else, I'm really just lacking in originality...)

Reworking and recording an old punk number written as part of a 'rock opera' which had been written some years ago (and then promptly forgotten about), and now given new visual life in the form of a music video, made me realise - though only after watching the video back a few times - that it seems to represent a stage in the 'further adventures' of Em and Jay, the main characters from my film 'Hardwired'.

The concept of bringing my interest in music-making (albeit of a crummy, lo-fi form) into the forefront of my practice is probably long overdue. Original scores did feature in all three of my 'major' (i.e., over 10 minutes' length) films of the last few years - 'The Wanderer and the Wish-maid', 'Solstice' and 'Hardwired'. But making music into a main focus, for all its roughness (which itself could be a personal methodology, and is indeed a deliberate aesthetic used in various genres) is something I will be exploring in more depth - featuring, as it does in this case, character and narrative, which have always been my main driving forces. 

My enthusiasm for punk as a social, cultural and musical movement has already been documented in my 4-part performance poetry cycle, which can hardly be called nostalgia as I was barely a conscious entity when the first wave began to fizzle*, but I do have a long history of living and breathing various aspects of the ethos, especially the 'DIY' concept of making (comix, zines - including my forthcoming 'A/Object' zine, which includes a few punk-inspired images among the other X-rated material), production (especially music - I play all instruments, to varying standards), and distribution. 

A few other tracks with narrative (or at least artistic potential) include pieces which exist, at present, only as titles, like 'Acne Empire', 'What a Load of Crap', 'So I'm Married to a Drag Queen' and 'I ****ing Swear'. How might this body of work develop? With my public exhibition of 'Hardwired' only a week away, I'm expecting to channel some feedback from that experience in this new direction. Perhaps Em and Jay will become a pair of recurring universal heroes in a whole series of works, popping up in multiple genres and/or places. 

Keeping with the musical theme, I also had the following cartoon published in a recent zine by Coin Operated Press:


(Whilst writing this, I've just been reminded of another commission illustration - for a book by David Kerekes - which I made some years ago, entitled 'Gob' - featuring a spotty punk vocalist doing just that, the very antisocial activity (namely, spitting, in British slang) which became a trademark activity for the UK press to accuse all punks of being guilty of as yet another signifier that The End of Civilization was night. Except that, at that time, many people spat in public. To the extent that I can still remember as a tiny kid, on the old Dundee buses with my mother, seeing signs which read 'No Spitting'.)

*I usually refer to it as a 'celebration', covering as it does the 6 year period of British history from 1976 to the Falklands War of 1982.

Wednesday 7 September 2022

Weimar Poetry Cycle: all 4 Parts

 

Bowie, Lou Reed and Iggy Pop all had their Berlin phases - and I think I've just concluded mine. Or at least one of mine. The concept has hung around for quite some time, although it has only been realised (and realisable) in recent months*.

This is the 'movie' edition incorporating the pieces 'Berliner Girlz', 'Marlene and Me' and 'Die Freudlosse Gass', with extra opening footage to give the whole work a cyclical feel, and the fourth 'satyr' segment, 'Weimar, Schmeimar...' which concludes the story on a bittersweet, but still light-hearted, note. I'm still seeking the opportunity to perform the whole sequence live some day, somewhere...though probably not on a smoky backlit stage.




There's a nice physical (as well as the obvious thematic) link to an earlier live work, my Brexit-inspired take on a couple of 'Cabaret' classics - in that both this and 'Berliner Girlz' uses the same prop chair.

*The first segment, 'Berlin Girlz', was actually first written some years ago, and incorporated as part of a one-act play within the text of my one professionally-published novel to date - whose very title shows that my Berlin phase has been in progress for some time, as well as its inescapable connection to retro erotica, as the novel is set in an establishment which dates from the Weimar period.

'Weimar, Schmeimar...'

Fell in love with a Berlin girl so many years ago
Strange to think how many things since then have come and quickly gone.

As Mr Hitler warred, and went,
and everyone was left quite bent
so out of shape, we thought we’d never
even write poetry again.

Yet, here we are.
A people scattered – we refugees.
We left the city on its knees
and fled, like all the lucky ones
Across the sea – all hail Manhattan.

Then one day, some day
I saw her, somewhere
Standing on a smoky backlit stage
She was on the path to self destruct,
I mean, man – she was really fucked
I grabbed her and I took her home with me.

She told me of the path she’d wandered
Prostitution, drugs, time squandered
How she almost ended up impaled
or, so she says...in vague detail
like a butterfly, in some entomologist’s case.

But it’s 1952, and – hey!
We’re in the land of opportunity
And every night, we dance together
To those old songs that brought us hither
And knock back whiskey, telling tales
of the nymphs and satyrs of the Domino house
Just down the road from the old White Mouse.

But all those days have gone, my friend
And while I hate to come across as picky -
The fun has fizzled, liberty’s been redefined -
The only mouse around here is Mickey.

Prosit.

(MB, September 2022)

Writer's note: while the Domino is a fictional establishment, the White Mouse is not, and was a hive of extremely liberal performance art in its day. I first found it referenced in Donald Spoto's biography of Marlene Dietrich back in the late 90s, and the reference has kicked around my head for all that time. Maybe my next Berlin-themed venture will be to try to replicate some of the more risqué acts from that period, like those made notorious by Anita Berber.

Monday 29 August 2022

To Have and Have Not: Penises, Faces, and Other Bodily Bits

 Is the phallus still the single, most stable, identifiable gender definer: by its presence, or by its absence? In this world view (which I have seen personally expressed in many ways online - here's a screenshot of one single forum thread on the art and community website DeviantArt, posted in May 2022), wherein presence of a penis = male. Absence = female. The end.

Even taking into account the feasibility of mere trolling in the above (note the deliberate nazi references in the OP), the point is inescapable that these views are pervasive, and cross multiple territories (a number of DA forum regulars are not Anglo-American and do not have English as a first language). An advocate who believes that transwomen with penises can be classified as women is unlikely to argue the opposite "for lolz". We are returned to the nasty old-fashioned Freudian binary: that those who have, have the privilege of masculinity and maleness (whether they want it or not), and those who don't, don't. Again, the end. Only full GRS can remove this stigma, assuming it also comes with full legal and social acceptance of the newly-assigned gender.

One text (thanks to Dr. Angela Jones for recommending it) which has become fundamental to my background reading is 'Gender: An Ethnomethodological Approach' by Kessler & McKenna. Thus:

            "Penises and vaginas are the criteria by which gender is assigned at birth. Penis means ‘‘male” and labia and vagina means “ female,” and that, except in the most ambiguous cases, is all that is necessary to determine the neonate’s gender. There is some question as to whether the formula is really labia and vagina = fem ale, or whether it is instead no penis = female, since at birth there is no search (i.e., internal examination) for a vagina or clitoris." - Kessler & McKenna, p. 58.

The privileging of the masculine by patriarchal surgical, medical and surrounding discourse (which is also discussed at length by Dr. Anne Fausto-Sterling ('Sexing the Body', passim)) - is again iterated:

            "[...] in a case where a mother amputated the penis of her 15-month-old son, the medical team made the decision to keep him “ male,” despite the fact that he no longer had a penis (Westman and Zarwell, 1975). The medical basis of this decision seems to have been that reassigning him as female, and perform ing the necessary surgery, would have necessitated castration and thus rendered this individual sterile. A fertile male without a penis was seen as preferable to a sterile female with a vagina." (ibid.)

In which case, we are reminded of the sociological purpose of women as 'child bearers', and the recent Irish political designation of spinsters as "redundant women".

But this blog deals with more than genitalia, and Kessler and McKenna note the external details which are used, at first glance, to gender individuals: 

            "Our purpose in soliciting reasons was not to catalog them, detailing stages in cognitive development. Ample evidence has already been collected (e.g., Kohlberg, 1966; Katcher, 1955; Thompson and Bentler, 1971) which shows that young children cite hair length and clothing as gender cues and that adults use biological signs. The reasons that the youngest children gave suggest that they have not yet learned that any reason is not enough; it must be a “ good reason.” That is, it must be placed within a gender “ appropriate” context. For example, both preschool and adult participants frequently gave body parts as reasons. While pre-schoolers, for the most part, merely named the body part (“ Why is this a picture of a boy?” "His hands” or “ His face” ), the adults characterized the features in a particular way ("Because of the aggressive expression on his face ” or “Because his arms are in an athletic pose” )." - P.105

This feeds handily into recent research I've been doing on the physiognomy of gender, about which I've so far been unable to find many general studies. There are, however, a couple of interesting papers on the relations between gender, social power and dominance. 

            "Traits associated with physical maturity and strength may have acquired a signaling function for dominance among humans as they have, in an analogous fashion, among other species. For example, individuals with prominent, square jaws may appear "dominant" because jaw growth indicates maturing dentition and fully developed teeth are used for intimidation among many primates (Guthrie, 1970). " (Caroline F. Keating, Social Psychology Quarterly 985, Vol. 48, NO. 1, 61-70, Gender and the Physiognomy of Dominance and Attractiveness, p. 62.)

Given the historical place of women in traditionally submissive or non-dominant roles, this has some bearing on the modern stereotype of lesbians as commonly having 'butch' or 'masculine' facial attributes. Whether the mere possession of such attributes contributes to making one eventually become gay (due to repeated rejection by stereotypically-minded members of the opposing sex) is another matter, and one that's well beyond my scope of research.

Keating goes on:

            "Morphological cues of nondominance [...] have received more attention than those of dominance, perhaps because of the Lorenzian notion of the "cute response" (see Eibl-Eibesfeldt, 1975:400). Lorenz (1943) postulated that certain infantile features evolved their appealing nature because they operated as cues for caretaking responses. Consistent with Lorenz's notion, several investigators found that the babyishness of cephalic shape determined perceived cuteness for schematic drawings (Alley, 1981; Brooks and Haebberg, 1960; Hildebrandt and Fitzged, 1979). Preferences for photographs of infant rather than adult faces of both human and non-human species were reported for post-pubescent human males and females (Fullard and Re-, 1976). Sternglanz et al. (1977) collected "attractiveness" ratings from college students who viewed schematized baby faces with systematically varied features (e.g., chin size, eye shape, iris size, etc.). Feature variations which produced the highest attractiveness ratings were consistent with Lorenz's proposals (Sternglanz et al., 1977). " (p.62)

            "From a sociobiological perspective, likely dominance cues are traits associated with physiognomic characteristics, such as jaw prominence, that promote successful intraspecific competition. Identi-Kit faces with prominent, square jaws were therefore hypothesized to appear more dominant than those with more rounded ones. Dominance cues are also likely to involve traits that accompany status differentiators such as age. The amount of facial hair increases following puberty (especially in males), and so faces with bushy or thick eyebrows were expected to appear dominant relative to those with thin eyebrows (Guthrie, 1970). Large eyes, another juvenile trait, were predicted to look nondominant relative to small eyes (Eibl-Eibesfeldt, 1975: Guthrie, 1790; Lorenz, 1943: Sternglanz et a]., 1977). Thick or pudgy lips are also characteristic of babies and were expected to diminish dominance ratings for adult faces (Keating et a]., 1981 b). Dominance cues were expected to be associated with attractiveness for male faces but not for females. Nondominance cues were predicted to correspond with perceived attractiveness for female faces and make male faces less attractive. 

            "For both male and female faces, the combination of brows, eyes, lips and jaw designed to look adultlike rather than childlike boosted dominance ratings, as predicted. Furthermore, variations in eye size or lip thickness alone were reliable dominance cues. These findings are consistent with the sociobiological arguments guiding the selection of trait manipulations. Dominance was conveyed by the relatively small eyes and thin lips associated with adult development. Nondominance was signalled by the large eyes and thick lips associated with the prepubescent young of our species. 

            "In general, traits that served as dominance cues for male faces made female faces look less attractive and male faces look more attractive. Female faces were perceived as attractive when displaying traits that made male faces appear submissive (a "Tootsie Effect") and unattractive (Keating, forthcoming). Perhaps the neotenous traits displayed by females of nonhuman species are analogous to the human situation. The notion that perceptions of dominance and attractiveness are differently related for males and females implies that the basis of attraction may rest. in part, on perceptions of dominance. When a woman looks too "masculine" or a man too "feminine" perhaps what is violated is not only a gender distinction but a dominance or status distinction as well. "Feminine" or nondominant characteristics may make males look weak but make females look appealing." (p. 69)

Keating sums up the pervasiveness of all of this in our culture:

            "These arguments are supported by common observations of feminine beauty techniques. The typical prescription for "beauty" in Western culture includes making eyes look larger and brows thinner and arched. These techniques could be viewed as a sort of culturally prescribed neoteny (Guthrie. 1970). The present study suggests that such interpersonal perceptions are not arbitrary, cultural inventions but are patterned by primate evolution." (ibid.)

We can see, then, that industries such as the beauty and glamour worlds, and popular media such as men's magazines, comics, video games, etc., all strictly adhere to, rather than deviate from, these repetitive social/evolutionary cues in which strong, aggressive and dominant men, and non-aggressive, non-dominant women, are the norm (even in media in which women are portrayed as "tough" or aggressive, they also must typically still be rendered "sexy" - a tough female character who is also aggressive and rendered physically unattractive (by the conventional means described above) will very likely be a lesbian, trans*, a villain, or some combination thereof. The action/aggression aspects of characters such as Lara Croft, then, are in no way incompatible with the physical representation of the character for the target demographic: eye candy for the male gamer, while they carry on with the traditional male, aggressive, dominant behaviour of fighting/exploring/winning/kicking ass in general. The character does not, physically (oversized tits, hourglass physique) or physiognomically (big eyes and lips, small chin), present herself as inherently aggressive or dominant. That feature is only accessible via the actual gameplay, which, of course, the male gamer has full control of (more of this kind of discussion in my previous blog post, here).

Of similar interest is another paper authored by Eva G. Krumhuber, Xijing Wang and Ana Guinote, 'The powerful self: How social power and gender infuence face perception' (Current Psychology https://doi.org/10.1007/s12144-022-02798. Accepted: 26 January 2022):

            "Of particular importance is facial dominance, associated with characteristics such as a prominent jawline, pronounced eyebrows, and thin lips (Van-Vugt & Grabo, 2015). Those who look strong and dominant are favored as leaders and attain higher ranks in organizational settings. For example, people with dominant facial features are more likely to reach higher military rankings, achieve business success, and receive more votes in political campaigns (e.g., Alrajih & Ward, 2014; Little et al., 2007; Mueller & Mazur, 1996)." (p.2)

            "Whilst social power is something desirable for men, it may create a backlash against women who risk negative social reactions (Eagly & Karau, 2002). In line with this argument, female power holders are often described as ‘iron maiden’ and ‘ice-queens’ (Heilman et al., 2004), with the effect that they are judged as more hostile (e.g., devious, bitter; Heilman et al., 1995). They experience criticism and penalization from both men and women (Rudman, 1998), and are viewed as less socially skilled and feminine than their male counterparts (Rudman & Glick, 1999; Wang et al., 2018). Also, dominant behavior and appearance fail to increase the perceived attractiveness of women, whereas they do so in men (Brescoll & Uhlmann, 2008; Sadalla et al., 1987). In fact, female faces are rated as attractive the more submissive/immature features they contain such as a round face, large eyes, and a small chin (Keating, 1985). (p. 3)

            "Traits that serve as dominance cues for men (i.e., masculine facial features) may therefore not be appealing to women (Sutherland et al., 2015) because they violate conventions of appropriate female behavior (Eagly & Karau, 2002). Instead, socially shared expectations that link women with submissiveness may constitute the preferred point of view (Bailey & Kelly, 2015). This could lead to the visual representation of own faces in which the self is predominantly aligned with perceptions of low power/dominance. As women come to internalize gender-stereotypic roles, submissive traits and appearances related to the self may appear more typical and desirable. As such, women’s submissive self-face schemas as shown in this research could have a self-perpetuating function that may prevent them from taking on power-related roles*. In contrast, dominant self-face schemas held by men may be automatically activated when opportunities arise to acquire or maintain power (Wellington et al., 2003). These self-selection processes then complement environmental pressures and social discrimination (Meyerson & Fletcher, 2000)." (p. 11)

*My italics. A relevant point in relation to the perpetuation of male-to-female trans* stereotypes and the need for, f'rexample, facial feminization surgery and such.

Of interest within this paper is the use of computer-generated facial images, tending along a spectrum of most dominant -> most submissive (for male and female - although, only Caucasian - subjects), which is similar in line to the proposed work I'm undertaking (via the https://metahuman.unrealengine.com/ digital face generator) for preparing a spectrum of gendered physiognomies, in an attempt to locate the point - for a general consensus of viewers - at which clear and explicit gender breaks down, and ambiguity is introduced:




The character is based on 'Frankie', the non-binary lead and narrator of my graphic novel series 'Sinister Rouge' (2019-20), and its development in this virtual environment has direct links to my own personal aesthetics of physiognomy, as well as the feedback I have received over the years in that regard. As it stands, the project is to define a female character that is universally declared to "look female", and then tweak her features increasingly until questions, confusion and - ultimately - accusations of "maleness" or "trans-ness" creep into the responses. How I will enable this research to be conducted is for further down the line however, and something that will need to be discussed at length.

Moving back to the issues of 'reading' a person's characteristics from their facial structure (shades of the phrenology pseudo-science, and the recent Stanford University 'gay face' study), I wonder if the perceived femininity (and, ultimately, the attractiveness thereof) of a face is determined by that face's apparent submissiveness. If big eyes on a girl or woman are deemed attractive - because big eyes look innocent, childlike, and (relatively) non-aggressive, non-threatening - then clearly, in opposition, narrow eyes on a woman ought to indicate the reverse? Japanese culture, via manga and anime, explicitly refers to these tropes (the characteristic large, often very detailed, eyes of anime characters are derived from 1960s Disney creatures) with 'boy eyes' and 'girl eyes'. 

Power and dominance over an individual seems to be a driving force behind what is perceived as attractiveness. Narrow eyes and a stern chin will make some viewers uncomfortable if they are juxtaposed with a stereotypically 'sexy' physiology (a major part of my own drawing practice) and therefore the normative/cis-het dominant male viewer would reject such a representation. This, I suspect, is part of the driving force behind a lot of male-to-female transphobia - that the attractive, submissive elements of traditional womanhood are offset by too manly a facial structure (in some cases) which then perturbs, disrupts, the initial lust response once a closer, second look has been taken, and the viewer wonders if the person they liked the look of at first sight, may turn out to be just as dominant or aggressive as they themselves? A case of hitting too close to home, perhaps?

Friday 15 July 2022

Recent Developments and New Works, Plans, and Things

'Marlene and Me' dress rehearsal video still for Dundee Fringe Festival, '22


The last 6 weeks have been challenging, with all sorts of things happening: mostly good, but the Solstice was spent being hit by a chest infection as well as the need for emergency eye surgery. However, back on track again and to summarize everything:

21st May: Scottish TransPride in Paisley, Scotland:

June ('til present): submitting work (prose poem entitled 'Ravensong') to Cthulhu Books anthology call-out: Making Kin - Institute for Postnatural Studies The work is inspired by my studies of Old Norse and Old English literature, mythology and poetry.

1st June: a last-minute support slot at the Hunter S Thompson saw me premiering live one of my early 'lockdown poems', as well as an old standard:


15th June: performing brand new spoken word piece 'Stevie Nicks' (again at the Hunter S) which was directly inspired by the raw, emotional and very personal work of the headline act on the 1st of June:


18th June: public presentation of 'Welcome?', a BRAW Bursary recipient (in collaboration with ShaperCaper) in Dundee. My work consisted of a printed poster and 3 A5 flyers discussing international trans rights.


8th July: Presented paper 'Pornographics as Queer Method : Using Adult Online Entertainment as a Strategy for Developing Non-Binary Gender and Being' at the SGSAH 'Prospectives 22' online symposium. I'd planned to be away in Manchester that weekend hence the pre-recorded talk, but elected to stay home to better monitor my eye health, which allowed me to take part in the live Q & A:


In between all this action I was also able to rehearse and record the second instalment of my three-part 'Weimar Cycle', a tribute to the decadent era of German art of 100 years ago, as well as the cabaret tradition and the general air of sexual and gender liberation which flourished at that time. This is 'Marlene and Me':


I have submitted proposals to perform this cycle live at both Buzzcut '23 in Glasgow, and (as a 2-part work in progress) at the upcoming Dundee Fringe in September. I've also submitted a handful of films to the 'Queer Art Now' open call in London. 

The Future of Personal Research, and a Bit More

 Having spent the past few months completing Fragments of a Punk Opera , working on my PhD upgrade 'exam' and with the odd dash of a...