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Wednesday, November 21, 2012

What Happens in Connecticut When You Drive in the Snow?

Dear Earthlings,

This is not really an uplifting tale, and I feel you should hear it since it could happen to you.

The title is: "What Happens in Connecticut When You Drive in the Snow?"

The short story is: "you get hit in the back, you get fined by the police, your car gets totaled, and the other driver's insurance denies all responsibility." Traveler's, don't ever get it!

At U Conn we have a provost, the first female provost here, who has written a book entitled Rude Democracy. Even without reading, I can tell she got it right. Thanks, Susan Herbst. Some education, some courtesy! How much more rude can a democracy be?

Curious about the long story?

Here is is: "It's snowing and I'm considering whether it is a good idea to go home. Obama has just been reelected, it's the 7th, early afternoon. Perhaps I should overnight at the office, my heart tells me. It looks nasty out there. Not a time to be in the car by oneself.

I look at a weather report with a colleague and it seems like there is some reprieve. I decide to go. "Toughen up, Serena," says the other me, "get ready for the winter." Walk in the snow to the parking lot that seems really far away. Finally get there. Drive a bit. Traffic is murder. Everyone scrambling to get home fast. I drive slowly, slowly to the point that the road is all clear ahead of me, while cars pile behind me as they try to beat the weather.

At some point I feel my car veer gently, very gently, a bit toward the right. I'm sure this is normal in snow. The road is very slippery with sleet. Before I know it the car behind hits me. My car sharply swerves to the right and turns around completely. Then is hit again on the front wheel. I feel my body bang under the blow. And luckily don't feel any external injuries.

The can behind me crosses to the other side of the road. Mine ends up turned around on the curb on my side.

It's cold. It snows thick. We wait for the police on the side of the road. Traffic is heavy and it's not safe to sit in the car. It's cold. We call Triple A.

Finally the police arrives. The other driver screams, "she lost control." I'm not sure why he does that but find out soon. The police now blames me and gives me a ticket. I explain he was tailing me, but the policeman won't hear. I end up with a ticket for "excessive speed for weather conditions." I've just paid it online. Thanks, dear State of Connecticut, you make me feel welcome here!

Triple A comes and I get the car towed back to the office. Happy I'm all in one piece. A colleague has emailed to ask if I'm safely home, and I reply that I'm back at the office and explain why.

He offers to pick me up. His family has a spare bedroom where I can sleep.

It turns out the first three days I'm a bit like a zombie sorting things out with insurances. I, the naive from a tropical island where $ 3000 is the maximum liability for any accident, had only purchased liability, not collision, not rental, not comprehensive. Ouch!

Naive me, I was not aware this would not only have an effect on the risk from damages to my car I might cause, but also on damages to my car others might cause, since my insurance won't care to hold them accountable. In the "rude democracy" system: they have no reason.

So I reflect, "what is it like to drive in Connecticut under severe weather conditions?" Insurance is mandatory and the insured pay. But are insurances ready to take responsibility? There would have been no accident without the snow, that's for sure. Just for being on the road, I get both fined and hit. What is the system telling me? Is there a law that spells "stay home, you have no right to travel, the road is for others not you." And yet, diving is the only transport system. Should I quit my job? I've never cancelled a class in my entire career.

Next day I find out the car is totaled. I'm still a bit of a zombie. We go look at the car, other possibilities. Three days after the accident I finally feel like driving.

I've been driving a rental since, hunting for a new car. Today the other insurance denies my claim.

So, the bottom line is, if I don't go to court, the insurance wins. Do I want to fight this? Can I let it consume me? Welcome to Connecticut, Serena. The "rude democracy" is here to get you!

Consumer report spells that Traveler's Insurance is not the thing to get. Irresponsible is the least one can say about the behavior.

You can admire my car's behind, the way their insured hit it. Isn't it cute?

You can also send me kudos for paying fines on time. I came to U Conn on a research mission. I came to study "Amorous Visions." But where are they? When a democracy is rude, the vision blurs. Everyone wants to be right at all times. How ugly and irresponsible this is. All energies are consumed in fighting opponents until there is nothing left to win. There is no heart in this, and not much intelligence either.

Dear Earthlings,

It would be great to teach this rude democracy a lesson of kindness. Then the "Amorous Visions" would become visible again. Unfortunately, I don't have much energy for that, and I've done it in the past when I did. Any interest? Let me know and I will assist you. Maybe when we manifest the energy of truth, the "Amorous Visions" will reappear. If you are a professional of justice we can educate the world about this, as we teach irresponsible insurers a good lesson too. Please step in!

We deserve a system that's based on justice, don't we? There is no point in winning when everybody wants to be right all the time. Sounds like kids having a fit when parents intervene in their little disputes. Can't we become a bit more mature? Charles Eisenstein says this is the end of the growth period for the human species. We can't expand anymore, true. So it's also time to share. Can we? Perhaps, once more, education is the key.

Education is the heart of democracy, a gentle democracy, that is. Education to love. When are the "Amorous Visions" going to reappear? Come back for more wonders. And check out out vacation offerings.

Namaste,

Serena Anderlini-D'Onofrio, PhD

Gilf Gaia Extraordinaire

Author of Gaia, Eros, and many other books about love
Professor of Humanities

University of Puerto Rico, Mayaguez

Poly Planet GAIA Blog:
http://polyplanet.blogspot.com/

Website: www.serenagaia.com

Be Appraised of Ecosex Community Project PostaHouse
Become a Fan: www.facebook.com/GaiaBlessings

Author's Page/Lists all books:

http://www.amazon.com/-/e/B001JS1VKA

YouTube Uploaded Videos: http://www.youtube.com/SerenaAnderlini

PostaHouse: Apennine Eco Community

Monday, November 19, 2012

UCHI Series - Intro to "Amorous Visions: Fluid Sexual Moments in Italian Cinema"

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Dear Earthlings:

As promised, the intro to my UCHI project presented on September 12, 2012. Check it out an watch the three beautiful clips, with a finale of a "bisexual kiss."

I'll stay tuned for your comments.

Introduction

Amorous Visions: Fluid Sexual Moments in Italian Cinema

Serena Anderlini-D’Onofrio, PhD

Anna and Giulia in Bertolucci’s The Conformist, 1970

Intent

Providing evidence for the argument that "sexual fluidity" and "amorous inclusiveness" are natural elements in the human expression of love.

Using Italian cinema as an art form that bears witness to that truth.

Abstract

This study articulates a new interpretation of pivotal scenes in selected classics of Italian cinema based on the cultural constructs of “amorous inclusiveness” and “sexual fluidity” elaborated in recent cultural analyses of human sexual, erotic, and amorous behavior (Ryan and Jetha 2010, Diamond 2009). These classics include Pasolini’s Teorema (1968), where a mysterious guest awakens the erotic libido of all members in a nuclear family, and Bertolucci's The Conformist (1970), where a charming hostess similarly awakens both members of a newlywed couple. Based on these new interpretive paradigms, these scenes acquire a new meaning that discloses the bisexual and polyamorous content therein. This enables more positive and complete understandings of the films as projects that artistically express love for love, or erotophilia. As an experienced scholar who charted new research fields that study love as the art of crossing beyond sexual divides and exclusivity (BiTopia, 2011), I am uniquely prepared to articulate these interpretations.

Research and Contribution

Based on Deleuze's postmodern philosophy of cinema (1986), a film scene is a “movement-image” that stills time for future generations of viewers and can inspire transforming practices and movements. In many classics of Italian film, these scenes reflect pre-modern belief systems that precede monogamy and hetero/homo-normativities. As the expression of a 20^th century cinematic culture and tradition, Italian film encodes many of the contrasting beliefs that have historically characterized the multiple cultures that have inhabited the peninsula. For example, the notion that love is an art and desire is fluid was common in antiquity, when the modern concept of sexuality did not exist. This situation provides a fertile context for the study of a film’s diegetic structure that pivots on scenes where the socio-sexual conventions of monogamy and monosexuality are momentarily suspended. Are these cinematic moments “bisexual”? Are they “polyamorous”? In this cinematic culture a director is considered the “author” (or auteur) of a film. What do the scenes reveal about this author? Is the director’s gaze coded in them? Why do the films appear so “queer” even though they are not part of an LGBTQ film tradition? To what extent do new generations of viewers get to redefine what these moments mean?

Interpretive Perspective

The interpretive perspective I propose is authorized by numerous recent studies of human sexual fluidity and amorous inclusiveness that converge in assessing its biological and cultural roots. Lisa Diamond’s longitudinal study of women’s sexual desire proves that sexual orientation exists alongside with variable degrees of sexual fluidity (2009). Matthew Ripley (et al.)’s study of bisexual men registers an increasing degree of comfort with this practice and identity at least in the secular world. Based on recent findings in Clinical Psychology at Northwestern University and from the Human Rights Commission, bisexual behavior turns out to be natural and healthy for a large number of humans (Rosenthal, LGBT Advisory Committee, 2011). Christopher Ryan and Cacilda Jetha’s study of the prehistoric origins of human sexuality proves that inclusive behavior in both sexual and parental love has been prevalent in human cultures and communities over the course of the prehistoric life of our species (2010). Monogamy is a social construct that becomes normative with history. Our species is not biologically programmed for it, which explains why so many people have trouble adjusting to it.

Revisiting the "Fluid," "Inclusive" Scenes

If sexual fluidity and amorous inclusiveness are “natural” for humans, then it is a good idea to look again at classics of Italian cinema for scenes of “sexual fluidity” and “amorous inclusiveness.” What do these scenes mean? Why are they significant? What new visions do they authorize if interpreted as cinematic moments that establish an early legitimacy for behaviors subsequently found to be natural for our species? Why do we still so often perceive these behaviors as “queer”? Can our vision of what is natural transform to include these behaviors too? How does the authority of new science about sexual fluidity and amorous inclusiveness in humans legitimate these new visions? These are questions in my mind as I plan to revisit the erotic awakening of Francesca and Silvana in Riso amaro (1948); the one the guest bestows on the frigid nuclear family members of Pasolini’s Teorema (1968). The charming French hostess, in Bertolucci's The Conformist (1970) similarly awakens the newlywed Italian couple writhing with erotophobia from the Fascist regime; and a number of other similar scenes.

Silvana and Francesca bond as confidantes in Riso Amaro

Anna and Giulia dance together in The Conformist

As the new paradigms of “sexual fluidity” and “amorous inclusiveness” are put to work toward interpretations of classics of Italian cinema whose world fame exceeds their original cultural location, these interpretations will bring up unsuspected continuities. Binaries around which human sexual, erotic, and amorous behaviors have been organized include homosexuality and heterosexuality, monogamy and polyamory, modernity and antiquity. The cultural polarizations these binaries produce are in the way of envisaging worlds beyond these binaries. Directors whose key scenes represent “fluid” and “inclusive” moments produce visions of worlds possible beyond these binaries, were love for love, or erotophilia, prevails over erotophobia, or fear of love. A recent example of this is the fluid, inclusive kiss scene in Ferzan Ozpetek The Ignorant Fairies (2001).

Antonia and Michele exchange a "bisexual kiss" in The Ignorant Fairies

The Million Dollar Question:

How can we create a world where Massimo, the shared lover who binds Michele and Antonia erotically, wouldn't have to be dead for Michele and Antonia to kiss?

How can humanities-based interdisciplinary research help to make this happen?

Thank you!

Work Cited List

Primary Sources

Bertolucci, Bernardo. Il conformista/The Conformist. Rome: Green Film, 1970.

De Santis, Giuseppe. Riso amaro/Bitter Rice. Rome: Lux, 1948.

Ozpetek, Ferzan. Le fate ignoranti/His Secret Life. Rome: Medusa, 2001.

Pasolini, Pier Paolo. Teorema. Rome: Aetos Film, 1968.

Secondary Sources

Anderlini-D’Onofrio, Serena. “Bisexual Games and Emotional Sustainability in Ferzan Ozpetek’s Queer Films.” New Cinemas: Journal of Contemporary Film: 2: 3 (2004): 163-174.

Anderlini-D’Onofrio, Serena. Gaia and the New Politics of Love: Notes for a Poly Planet. Berkeley: North Atlantic Books, 2009.

______ ed. BiTopia: Selected Proceedings from BiReCon 2010. Routledge, 2011.

Deleuze, Gilles. Cinema 1: The Movement-Image. Tomlinson, Hugh, tr. Minneapolis: University of Minnesota Press, 1986.

______ . Cinema 2: The Time-Image. Tomlinson, Hugh, tr. Minneapolis: University of Minnesota press, 1989.

Diamond, Lisa. Sexual Fluidity: Understanding Women’s Love and Desire. Cambridge: Harvard UP, 2008.

LGBT Advisory Committee. Bisexual Invisibility: Impacts and Recommendations. San Francisco: Human Rights Commission, 2011.

Ripley, Matthew, Adrian Adams, Robin Pitts, Eric Anderson. “The Decreasing Significance of Stigma in the Lives of Bisexual Men: Keynote Address.” In BiTopia: Selected Proceedings from BiReCon. New York: Routledge, 2011.

Ryan, Christopher and Cacilda Jetha. Sex at Dawn: The Prehistoric Origins of Modern Sexuality. New York: Harper, 2010. Kindle Edition.

Dear Earthlings,

Courtesy of Poliamore Italia

Remember to come back on Thursdays for more snippets of what yours truly is up to.

Want to know more about yours truly's new book? What Is Love dares to engage the million dollar question! Would like to pre-read? Find out how to endorse the book here.

Education is the heart of democracy, education to love. Come back for more wonders.

Namaste,

Serena Anderlini-D'Onofrio, PhD

Author of Gaia, Eros, and many other books about love
Fellow at UCHI

Professor of Humanities

University of Puerto Rico, Mayaguez

Poly Planet GAIA Blog:
http://polyplanet.blogspot.com/

Website: www.serenagaia.com

Be Appraised of Ecosex Community Project PostaHouse
Become a Fan: www.facebook.com/GaiaBlessings

Author's Page/Lists all books:

http://www.amazon.com/-/e/B001JS1VKA

YouTube Uploaded Videos: http://www.youtube.com/SerenaAnderlini

PostaHouse: Apennine Eco Community
Book Online

Friday, November 16, 2012

18 of 26 - De l'Absurdite des vers - Mohamed Nait Youssef

Dear Earthlings:

My gift this year is a collection of 26 poems in my favorite language, French. It's the language of love, so full of charm and mystery and music. Those earth tones, warm vowels that feel like deep ocher. It produces oxytocin, at least for me. The author, Mohamed Nait Youssef, is a promising voice. Very touching, heartfelt his journey into awareness of nature and being. Here is the 18th in the series. We'll come back every Friday.

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18. Amour :

Je te cherche dans tous les endroits

Beau,

Mari de la joie

Doux,

Et ami de toutes les bonnes fois

Tu es cette vie en moi

Libre,

Tu échappes à toutes lois

De temps en temps, prince, dieu ou roi

L’âme,

va t’accepter sans choix

Amour,

Sois ennemis des mauvaises fois

Parce qu’il y a une seul loi

Le chaos ou bien toi…

Published here with permission. Reach the author:

Mohamed NAIT YOUSSEF né en 1988 à Tripoli Libye. Étudiant de la littérature française à la faculté poly-disciplinaire d’Errachidia. Jeune issu du Sud-est du Maroc -village qui s’appelait, Gourrama, dans province de Midelt.

Esprit-libre03@hotmail.fr

+212615156476

Dear Earthlings,

Courtesy of Poliamore Italia

Remember to come back every Monday for another poem by Mohamed. And tell all your French-speaking friends to show up to. "Like" our blog and keep us in mind when you have something interesting. Meanwhile, watch for snippets from Serena's new book, What Is Love? She dares to answer the million dollar question in this one. Would like to pre-read? Find out how to endorse her book here.

Education is the heart of democracy, education to love. Come back for more wonders. And check out out vacation offerings.

Namaste,

Serena Anderlini-D'Onofrio, PhD

Gilf Gaia Extraordinaire

Author of Gaia, Eros, and many other books about love
Professor of Humanities

University of Puerto Rico, Mayaguez