BDSM Exposed - Society’s Secret Subculture
BDSM can be described as a subculture or different lifestyle choices for people with particular tastes toward bondage, discipline, fetish, kink, and sado masochism culminating in consensual power play, pain and pleasure by its participants to enhance an erotic relationship. The term BDSM literally means: bondage and discipline, sadism and masochism.
The dynamics of a BDSM relationship are characterised by its participants adopting the consensual roles of slave or submissive, and surrendering themselves to the domination of a Mistress or Master for erotic gratification between both parties. It is important to emphasise however, that there is a widely recognised and respected code of behaviour for activities undertaken within the realms of BDSM and sado masochistic play which is “safe, sane and consensual” at all times during a scene. The basic principles of BDSM require that it be performed by responsible partners, of their own free will and in a safe way which means that everything is based on safe, rational and consensual behaviour of all parties. This mutual consent highlights a clear legal and ethical distinction between BDSM and crimes such as sexual assault or domestic violence.
BDSM encompasses a broad spectrum of activities such as bondage, discipline, slave training, spanking, CBT, nipple torture, electro torture, anal play, strapon, fisting, humiliation, spanking, corporal punishment, slapping, spitting, needle play, hot wax, forced feminisation, sissy slut training, water sports, foot worship, stiletto worship, boot worship, trampling, mummification, to name a few.
Classically, some of the tools of the trade are gags, whips, crops, paddles, ropes, cuffs, collars, straight jackets, straps and hoods, and indeed the Dominatrix or Master being the ultimate tool and driver of the kinky scenario.
Until the mid-nineties, the BDSM and fetish subcultures were still largely underground communities, however social acceptance swiftly escalated due to the prevalence of material available via the world wide web. It seems the internet has revolutionized our sex lives and provided us the luxury of exploring our darkest desires in the privacy of our own homes with downloadable BDSM, fetish and femdom movies at the click of a mouse.
These domination and femdom themed movies are likely to portray men and women experiencing various forms of bondage, discipline, punishment and torture and being consensually “forced” to endure submission, humiliation or sexual slavery by a femdom or master applying various methods of torture, punishment and discipline. Oh and yes, if you’re wondering, statistics show that a lot of people like it. Whether they are physically on the receiving end from their adored masochist or satisfying their individual fetish and kinks by watching BDSM, femdom and fetish movies, chances are there are a lot more people aroused by this secret world than they would openly admit.
The internet also paved the way for like-minded people to communicate not only locally, but world wide which in turn triggered an explosion of interest and knowledge of BDSM, kink, fetish and S & M. In addition, there has also been an explosive demand for traditional sex shops and online adult toy companies to stock fetish toys and fetish fashion, offering leather, latex, rubber and PVC.
Fortunately, the blossoming of websites offering BDSM movies has been a godsend for those curious, shy little creatures with no means of fulfilling their desire for slave training and servitude in the real world enabling them to explore their inner slave. Now they can download a session with an international BDSM Mistress and take all the punishment their little heart desires at a safe distance without those little telltale torture marks that tell their partner they have a penchant for a Femdom Mistress.
Sphere: Related ContentWhat is Abstract Art?
Abstract Art is a vast movement in American painting that came up during the late 1940s and became a dominant trend in Western painting in the fifties. The most prominent American Abstract Expressionist painters were Jackson Pollock, Willem de Kooning, Franz Kline, and Mark Rothko. Contemporaries included Clyfford Still, Philip Guston, Helen Frankenthaler, Barnett Newman, Adolph Gottlieb, Robert Motherwell, Lee Krasner, Bradley Walker Tomlin, William Baziotes, Ad Reinhardt, Richard Pousette-Dart, Elaine de Kooning, and Jack Tworkov. Most of the artists worked, lived, or had their work exhibited in New York City.
Despite the fact that it is the generally accepted designation, Abstract Expressionism is not the correct description of the type of artworks created by these artists. Actually, the movement had lots of different painterly styles that varied in both skill and quality of method. Despite this area of difference, Abstract Expressionist paintings share some general elements. They are essentially abstract — in effect, they show forms which are not taken from the real world.
They furthermore emphasize limitless, spontaneous, and individualised emotional expression, and they exercise considerable freedom of skill and process to achieve this result, with a special emphasis targeted on the manipulation of the changeable physical characteristic of paint to call upon expressive qualities (for example, sensuousness, dynamism, violence, mystery, lyricism). They show likewise importance on the unstudied and intuitive application of paint in a form of internal improvisation in the style of the automatism of the Surrealists, with the same intention of demonstrating the force of the creative unconscious in art. They demonstrate the conscious rejection of regularly structured composition created by application of discrete and segregable aspects and their replacement with a unique and unified, unvaried partition, network, or other image that exists in unstructured space. Last, the paintings fill sizeable canvases to allow the aforementioned visual signs both monumentality and engrossing might.
The premier Abstract Expressionists had two particular forerunners: Arshile Gorky, who painted sensualised biomorphic shapes with a free, lightly linear and liquid paint application; and Hans Hofmann, who used dynamic and harshly textured brushwork in his abstract but conventionally composed artworks. Another early and particular influence on nascent Abstract Expressionism was the arrival on US shores in the late 1930s and early 1940s of a group of Surrealists and the European avant-garde artists escaping from the Nazi party in Europe. Those European artists quickly impressed the native New York City painters and privileged for them a detailed view of the vanguard of European paintings. The Abstract Expressionist movement itself is commonly regarded as having started with the art mastered by Jackson Pollock and Willem de Kooning throughout the late 1940s and early 1950s.
In spite of the differentiation of techniques in the Abstract Expressionist movement, three wide approaches can be located. First was action painting which is indicated by a loose, speedy, dynamic, or forceful handling of paint in sweeping or slashing brushstrokes, and in technique in part dictated by chance, such as dripping or spilling paint straight onto the canvas. Pollock initially practiced action painting by dripping commercial paints on a raw canvas building up layered and tangled skeins of paint into stimulating and suggestive linear patterns. De Kooning employed especially vigorous and expressive brushstrokes creating richly coloured and textured images. Kline used mighty, sweeping black strokes onto the white canvas creating starkly monumental forms.
The following approach within Abstract Expressionism is exhibited by a number of varied styles starting from the lyrical, delicate imagery and fluid shapes seen in paintings by Guston and Frankenthaler to the clearly structured, forceful, almost calligraphic artworks of Motherwell and Gottlieb.
The remaining and least emotionally expressive ground was that of Rothko, Newman, and Reinhardt. These painters made use of large spaces or blocks of flat colour and thin diaphanous paint to create quiet, subtle, almost meditative outcomes. The outstanding colour-field painter was Rothko; the large part of his artworks consist of large combinations of soft-edged, solidly coloured rectangular fields that tend to shine and resonate.
Abstract Expressionism cast a wide influence on both the American and European art circles in the fifties. Indeed, the movement initiated the shift of the creative centre of contemporary painting from Paris to New York City throughout the postwar decades. During the decade of the 1950s, the the younger artists of the movement increasingly heeded the lead of the colour-field painters. By 1960, the young artists had largely shifted away from the extreme expressiveness of the action painters.
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