I think one of the important things for me in getting horny and being sexual is the existence of a desire for me, whether in fantasy or reality, that is specific to me. Like I really don’t like it when a trans girl tries to fuck me in the sort of “this is how trans girls say hello haha” sorta way. I want to feel desired for physical and personality traits that are mine. I want to be desired. If I’m just another body to you, just another trans girl in the line up, I’d actually rather not fuck you. I need that mental component of you lusting after me. If you don’t ache for me, you don’t get to feel my pleasures.

LOVING the RFK Jr brain worm news. going to write in my vote for the worm this fall

a (very small) group of columbia students continued protest action by picketing in front of trustees' manhattan mansions this morning. at two locations, they were punched by zionists; at a third, a zionist tried to run them over—the kicker is that he is a close relative of the founder of the fascist kahanist movement, and that the injured student he ran over was arrested instead, handcuffed to a hospital bed. this follows days of violent zionist squadristi assaults on protesters in LA, chicago, and DC, among other locations, leaving many injured.

a few hours later, biden went on air and talked about how violent and antisemitic the protesters are.

it's just me and you (trent reznor) and all these open tabs

Edmond Simpson "In Unison" (05-24) v1

As you moved from experimental documentary to narrative speculative fiction, did you have any reference points? How did that second film [Born in Flames] evolve?

I was very influenced by The Battle of Algiers [Gillo Pontecorvo, 1966]. I did “borrow” certain shots and ideas from it, like how the Women’s Army is structured. I’d read a lot of Marxist texts as well, and was reacting against the art world then being so white, straight, and middle class. I wanted to work with women in a different way and for Born in Flames to be “intersectional,” though Kimberlé Crenshaw had not yet coined the word.

It was going to be titled Les Guérillères, after the book by Monique Wittig. The premise was that women get pushed into second place ten years after a social-democratic cultural revolution, so I wanted to focus on those who would be most affected, women of color and mostly lesbians. Looking at it now, I realize some of the women were potentially trans, but transitioning wasn’t an option back then unless you had a lot of money.

The narrative of the film came together, very much in dialogue with the women I was working with. It was two years before I even knew what the story was going to be. It wasn’t until someone I knew came back from the Western Sahara with footage of women training with arms that I had the idea of the activist Adelaide Norris wanting to go abroad to import arms.

Flo brought in the history of her character with the Saharan women; Alexa—the woman who says, “the army is not mature enough to hang out with me”—said she would have no sympathy for any woman in the army unless she died in prison. So having the “suicide,” which some people have said foresaw Sandra Bland, wasn’t foresight: Black people have been murdered in prison before and since, and it gets called “suicide.” It’s part of the prison industrial complex, part of a culture that is so misshapen, so racist.

Born in Flames took five years, but it was made out of urgency about violence: out of abortion bans, racism, rape, prison, the lack of control that women have over our bodies. I see it as a series of questions about what it takes for women to take up arms. The women try leafleting, then radio, then breaking into the TV station to play their videos on-air to have their voices heard. In the end, their voices are not heard, so what’s left?

AquaHaute 2004-05-??

Wallace Polsom, Spectral Interference XXIII (07 May 2024), paper collage, 16.8 x 25.3 cm.

Andy Goldsworthy: Untitled (1999)

Julius 7 autumn/winter 2024

I’ve been kicked out of the hucow hooters for tipping my waitress