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The Sex toilet graffiti Record, 33, In other words, meaning is always already predicated on the unintelligible as it is the case that all that is visible exists on a continuum with that which remains to be seen. In her Health male massage prostate, agential realism understands graffoti Discursive Sex toilet graffiti and material phenomena do not stand in relationship of externality to each other; rather, the material and discursive are mutually implicated in the dynamics of inter-activity. What potentially follows out of a meeting of grwffiti cannot be predetermined; it emerges at the possible site of connection. Emotion is the idea given to cognitively express bodily sensation.
Shirt dress upskirt. COMMENTS (89)
Discworld : When Rinso visits the dunny outside Crocodile's tavern in The Last Continenthe notices "the usual minutiae from people who needed people, and drawings done from overheated hope, rather than memory", but also the Arc Images of figures in pointy hats. At some point the gay community lost its confidence and romanticism. We became lovers, then cottaging friends. Community Home. In the videohe trashes Sex toilet graffiti bathroom and covers it with graffiti. Posted by cottage life at Which you can call. In chapter 3 of Berry Punch Takes Manehattan Wild sex in bed, Bon Sex toilet graffiti reads some scribbles on the walls of the stall, ranging from squicky to philosophical. Mentioned in Sex toilet graffiti early installment of Errant Story. Let's just say this is Truth in Television for more than half of us, and leave it at that. Jason of Foxtrot has done this at least twice, giving out Paige's phone number and e-mail address. On the whole gay men no longer need to Use cottages to procure sex, indeed there is no longerv a need to remain on the closet.
Ever since the 1st century AD, people have been engaging in toilet graffiti, or ' latrinalia ' for the intellectuals.
- We all know that it is almost impossible to be sitting on the toilet and not have something else to engage our minds.
- If something bad happens you drink in an attempt to forget; if something good happens you drink in order to celebrate; and if nothing happens you drink to make something happen.
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Psychology in the Bathroom pp Cite as. As a genre of writing, graffiti have been controversial, valued by some as a form of artistic expression and criticized by others as mere vandalism. They have been hung from the satin walls of fashionable galleries and scrubbed from the sides of urban buildings by rehabilitated practitioners.
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The Resistance in Brink graffiti over the signs in the aquarium, complete with Yo Momma jokes. Once, they exchanged ideas by writing little notes inside of unpopular library books, but they were found out by The Powers That Be , all the books mostly As I said, nothing emotional. Adblock users get a week free. In Out at Home , a teacher catches Thurman in the boys' room, scrawling such pithy sayings as "Who watches the Watchmen?
Sex toilet graffiti. Blog Archive
Which is a air and relevant point. The other side of the stall however a had a story about a magical kingdom and unicorns and rainbows and zombies. I wish I had a vivid so that I could have added to the conversations on both sides. I enjoy the graffiti in public toilets. Log in Sign up. I have chased the sun across the sky so many times Not ready to admit You never catch up. Marriage graffiti toilet graffiti. Harry potter ministry of magic toilet graffiti lolpics funny lol humor. The world is ending 7th feb 2T15 A comet will strike the earth… bye bye bitches soon geezar.
My third was an erection. A gentleman never tells: suffice to say when I left I wasn't a virgin. I then walked to school to pick up my GCSE results. I would be lying if I said I didn't know these things happened: I'd loitered looking at the graffiti and explicit scrawlings.
This was my first experience of cottaging — in the States they call it the "tearoom trade" — the act of procuring or having sex in a public toilet. From then on, I looked for sex in toilets whenever I could. In the mids it was easy and cock available pretty much whenever.
Not all sex happened in the cottage itself. Toilet walls were messaging boards of interests, times and phone numbers. Sometimes you'd find a secluded spot elsewhere with a guy you'd met in a cottage.
But for me nothing beat sex in the cottage itself. Risky — the local bus drivers patrolled the toilets — but I wasn't exactly thinking with my head. Who wouldn't take a few risks for an easy fuck? That was its appeal: the lack of emotional involvement, of ulterior motivation: its honesty. Sex for sex's sake. Nothing else. I soon became adept at spotting cottaging "rituals" — the sideways glance from the guy at the urinal as you walked in, how he felt his cock as you stood next to him, that he wasn't even pissing.
The tapping of a foot under the cubicle door was a known sign. I could devote a whole article to glory holes. Some people say they used to take a shopping bag for a second pair of feet to stand in to avoid detection by police looking under cubicle doors.
I never saw that but I did pass messages written on toilet roll between cubicles. But mostly it was that look held for just a few seconds too long. Then you knew. It gained me my best friend at university. His first words to me were, "I have a place. We became lovers, then cottaging friends. Sometimes we would go away for the weekend, pay for a night in a gay sauna and cottage by day. Every town had a cottage. You could spot it by the graffiti or just instinct.
We judged success by whether we got our trade figures into double figures. Wanking off someone at the cubicle didn't count. As I said, nothing emotional. Just cock. Gay men don't have a tradition of handing down their history. No father shows his son the spot where actor John Gielgud was arrested, or says, "One day, my lad, you'll grow up to be just like Joe Orton. Gielgud was arrested in , entrapped by a "pretty policeman". It landed him in court and the Evening Standard. The surprising sympathy for him indirectly led to The Wolfenden Report , which recommended homosexuality's decriminalisation.
Orton was a playwright, murdered by his lover in His diaries chronicle his rampant libido and cottaging. They are probably the most honest account of gay sex at the time. For some, Orton's death was a crude morality tale. For a lot of gay men he was inspirational. It is difficult now to appreciate how different things were.
Toilets were often the only place where men could meet other men. Older gay men have told me about orgies in the cottages near their local gay pubs. How they always carried a tub of Vaseline on them.
Grassrooted » Blog Archive » Smelly Graffiti – The Toilet Project
I consider the materiality of bathroom graffiti and explore how queer inscriptions, architectural structures, manufactured materials, discursive practices, and human bodies are entangled phenomena with agential capacities. Drawing on the Baradian notion of 'intra-action', I argue that queer bathroom graffiti defaces conventional space-time configurations and, in so doing, transforms how gender and sexuality is experienced in public bathrooms.
Public bathrooms are a contested site of queer pleasure and queer pain. While restrooms are notoriously known as a space to cruise for gay sex, they are also a place of hostility where violence against trans, non-gender conforming folks, and queer sexuality occurs.
Typically, North American public bathrooms are gender-segregated and designed in ways that allow the public to police and surveil gender and sexuality. Often trans people are denied entry, harassed, or assaulted while attempting to use the bathroom. Jack Halberstam points out 'the bathroom problem' increases for gender ambiguous men and women, but even more so for trans people, who are often met with hostility and confrontation within this public space Halberstam argues that while some genderqueers may be able to escape gender policing's watchful eye by passing as either male or female, others may have a harder time, especially if they identify outside of the gender binary Therefore, genderqueers who do not identify or comply with normative notions of either male or female are forced to closet their gender or non-gender in public bathrooms and perform a subjectivity that is alien to their own.
For this reason, restrooms are often avoided. As a consequence, the number of bladder-related health issues is disproportionally high within the trans and queer community Herman ; West While trans rights activists have been fighting for gender-neutral lavatories since the s West 62 , recently the 'bathroom bill' debates in Canada and the United States have garnered international news and social media attention.
In Canada, Bill C, which would amend the Canadian Human Rights Act and Canadian Criminal Code to include gender identity as prohibited grounds for discrimination, has received a considerable amount of backlash from both policy makers and the public.
One argument of those in opposition to the legislation is that the legal implementation of gender-neutral bathrooms would increase the occurrence of violence against women in public bathrooms. Not only is this argument rooted in the paternalistic and sexist notion that women are weak and need protection from men but it also perpetuates the transphobic view that 'woman' is a category only applicable to those who were assigned 'female' at birth.
This cissexist definition of women erases from the conversation transwomen and the violence they experience in public bathrooms. More than just a concern for cisgender women's safety, the controversy over unisex bathrooms, Olga Gershehnson explains, "reveals cultural anxieties about the consequences of a slowly eroding gender binary" It is in the context of these heated debates, fueled by deep-seated transphobic, sexist and homophobic ideologies that place the health, wellbeing, and lives of trans and queer people at risk, that I take interest in exploring the affective potentials and agential possibilities of queer graffiti in public bathrooms.
Writing on graffiti and gangs in a previous issue of Rhizomes , Gabriel Soldatenko , distinguishes between three types of graffiti: restroom graffiti, graffiti tagging, and street art. He posits that bathroom graffiti is the least political of the three and is best thought of as "[an] utter randomness of phone numbers, racist remarks, off-color jokes, and sexual proclamations, all clustered together without any rhyme or reason".
He claims that the political value of bathroom graffiti is hard to discern and suggests that it only functions as an impulsive form of self-expression.
Conversely, Soldatenko maintains that, "merely because graffiti does not contain an obvious political message He continues, "On the contrary, graffiti demands that we 'shift our perception' so that we can recognize a political value in graffiti..
However, he paradoxically, dismisses bathroom graffiti as a valid form of activism. Alternatively, I posit that bathroom graffiti is political in both content and form and, as such, should be taken seriously as a creative tool for social change. Rather than taking graffiti as a representational object, this paper approaches bathroom graffiti as agential material phenomena with the capacity to affect bodies in new and unpredicted ways.
At the heart of this approach is the proposition that apart from the interactions between human bodies, non-human matter, such as graffiti inscriptions, have the agential capacity to produce political potentials. To support this claim, I turn to Karen Barad's notion of agential realism and Gilles Deleuze's understanding of affect.
In doing so, this paper offers a diffractive reading. A diffractive methodology, as Barad explains, is the practice of reading works and their differences through one another to recognize and create new entanglements of meaning. Thus, it is important to note that although Deleuze and Barad differ in their conceptualization of affect bringing their work into dialogue adds a layer of intensity and meaning in understanding the relationship between affect, agency, and queer bathroom graffiti. Briefly, for Deleuze, affect is a felt experience of the virtual and actual that occurs in singular events, whereas affect for Barad is conceptualized as a material phenomenon constituted by multiple 'intra-actions' between various human and nonhuman material bodies.
Barad's notion of 'intra-action' signals "the mutual constitution of entangled agencies" and recognizes that distinct matter does not precede its inter actions but, instead, emerges through 'intra-actions' with other non-distinct matter Meeting Whereas the usual notion of interaction assumes a meeting between independently existing entities, the notion of 'intra-action' emphasizes that entities materialize in intra-action Meeting Thus, matter is never a fixed or passive thing but, rather, "matter is a congealing of agency" "Posthumanist Performativity" Barad's posthumanist philosophy emphasizes that all phenomena, including discourse and felt experience, are always-already involved in material 'intra-actions'.
Therefore, where Deleuze falls short, Barad's approach to affect and matter provides feminist theory with a more nuanced and useful understanding of how affect circulates in its intra-actions in between and beside discursive power. When brought into conversation—or read diffractively — the differences and similarities between Barad's and Deleuze's philosophy produce new conceptual phenomena through their own set of theoretical 'intra-actions'. It is these phenomena I attend to here. Exploring the material matter of bathroom graffiti, I maintain that queer graffiti inscriptions, architectural structures, manufactured materials, discursive practices, and human bodies are entangled phenomena that, in their 'intra-actions', deface conventional space-time configurations and, in so doing, disrupt the notion of a bounded coherent subject.
Barad's 'onto-epistemological agential realism', which considers the entangled practices of knowing and being, makes a rich and complex contribution to feminist and queer theory by reconsidering notions of performativity, agency, and materiality. However, rather than discussing the promising philosophical underpinnings or problematic aspects of Barad's theoretical apparatus, my interest, here, is to put her agential realism to work as a methodological and conceptual tool.
Thus, this paper takes an agential realist approach to investigate how the material, as well as the discursive, dimensions of queer bathroom graffiti act as a disruption to the congealing of heteronormative space. It is important to note, here, that heteronormative space is not a pre-existing static container; it is also performative through its intra-acting phenomena.
Nonetheless, heteronormative space can be defined as such through a number of repetitive intra-actions that occur in and around the space, such as the persistent modes of surveillance enabled by architectural design and gender signposting discussed below. Gender-segregated public bathrooms are regulatory spaces that govern social, psychic, and spatial relationships. In Queering Bathrooms: Gender, Sexuality, and the Hygienic Imagination , Sheila Cavanagh traces Western histories of public toilets back to the late eighteenth century.
Cavanagh explains that the typical North American modern restroom is socially structured to condition heterosexist and cissexist ideas of the body and sexuality 4.
At the same time, the architectural design of public bathrooms allows for easy surveillance of bodies, and therefore regulates heteronormative performances of gender and sexuality. For instance, prior to entering public bathrooms, people are met with gender signposts that signify segregated lavatories. These signs require that individuals conform and adhere to a binary structure that precludes identifying as anything other than male or female in this space.
Surveillance of bodies continues past the outer signposts and inside the bathroom, through what Cavanagh terms 'an architecture of exclusion'. Cavanagh gives the urinal as an obvious example of how architecture reinforces cisgendered identification in its presupposition that all male-identified people stand to urinate.
As a consequence, she posits, deviation from this given receptacle often raises suspicion Beyond this, however, there are more insidious modes of closeting and un-closeting at work. Cavanagh describes how the height of toilets versus urinals, where the distance between genitals and receptacle differ according to gender one must sit while the other stands , provides an acoustic means to discern and regulate gender differences In addition, she contends, the many reflective surfaces tiles, glass, glossy paint, and mirrors as well as low-cut stall partitions and doors enhance the public's ability to code gender and sexuality This panopticon-like environment is used not only to closet, and threaten to un-closet, non-normative genders but also gives the public a sense of entitlement to interrogate and police the presence of queer gender and sexuality.
Conversely, queer graffiti, I argue, changes the bleak hygienic aesthetic of restrooms to a vibrant messy and communal atmosphere. And, at the same time the content of inscriptions directly challenges the hostility of transphobia and homophobia that is often felt in the space. On the other hand, public bathrooms are also sites for queer pleasure. In their discussion of queer sex in public, Lauren Berlant and Michael Warner argue that the spectacle of public sex destabilizes heteronormative culture and in turn creates a 'queer counterpublic'.
Sex in public, according to Berlant and Warner, challenges patriarchal ideologies that link sex with procreation, family, and heterosexual marriage by having sex out of place What is more, same-gender sex in public, or simply having sex outside of the home, de-territorializes the boundaries between private and public space and calls into question the regulation of bodies.
Similarly, queer bathroom graffiti messes up the heteronormative landscape by disrupting, resisting, and transforming the architecture of exclusion. Like public sex, queer graffiti literally inscribes 'sexuality out of place' but, unlike public sex, it does so not through a sexual encounter between bodies in space and time, but through an encounter between bodies across spaces and times.
In other words, the act of queer sex in public is a singular event, whereas queer bathroom graffiti is an ongoing phenomenon with multiple temporal intra-actions.
Queer sex disrupts heteronormative flows in a certain space for a particular amount of time; bodies affect one another in their immediacy, intimacy, and presence. Differently, queer graffiti impinges upon bodies across time; graffiti inscribes sexuality out of place not through the physical proximity of bodies but through the distance between them. Bodies touch one another through written representations that traverse time. Because bathroom graffiti, as a material trace of queer bodies, calls attention to the invisibility of non-normative sexuality in everyday space , it is often touted as a subversive form of self-representation that un-closets marginalized subjectivities and makes oppression visible Carrington; Cole; Green.
However, this representationalist perspective on graffiti assumes that a coherent sexual identity exists prior to its inscription. Queer graffiti has also been theorized as a 'coming-out' speech act Davies and Knox. From this viewpoint, writing on the stall is not a representation of a pre-existing identity but, rather, the very act of writing queer graffiti does what it names: writing queer graffiti is not a representation but a production of queerness.
That is, writing graffiti is performatively constitutive. However, the problem is that a performative, according to Judith Butler, "is [ Therefore, even though the act of writing queer graffiti may constitute non-normative sexuality, its performativity is always a reiterative and citational process of the very heteronormativity it seeks to subvert. Consequently, the very agency 'afforded by' queer graffiti is always already bounded by the discursive powers that govern it.
Barad's notion of agential realism, however, offers a way out of this paradox by providing feminist theory with a more dynamic and useful understanding of how agency operates. Barad puts forth a theory of 'posthumanist performativity' that accounts for the agentic qualities of matter; she explains:.
Barad's de-emphasis of language and attention to matter challenges Butler's theory of performativity that focuses on the discursive "regimes of regulatory production [that] contour the materiality of bodies" Butler Barad argues that Butler fails to explain how material matter produces bodies and, therefore, Butler's theory of performativity ends up reinscribing matter as a passive byproduct of discursive practices Barad, "Posthumanist Performativity" In contrast, Barad focuses on the interplay among many forms of materiality to underscore how experience and knowledge emerge out of multiple interactions between human bodies and the environments in which they are embedded.
This understanding of material-discursive practices "cuts [agency] loose from its traditional human orbit" "Posthumanist Performativity" Namely, agency is not something humans have, it is not a product of human will, intentionality, or subjectivity—rather, matter is agentic because, as Barad states, matter is a continuous doing and a process of becoming.
Matter, then, is not a fixed property of an object but the materiality of phenomena "Posthumanist Performativity" Barad's materialist position does not deny the importance of Butler's discursive analysis but insists that discursive practices and matter human and nonhuman entangle in a dance of agency performatively informing and merging into one another.
For Barad, matter is always open-ended, indeterminate, and different, thus making essentialist claims to anything impossible Meeting ; emphasis in original.
In her words, agential realism understands that:. Thus, fixing graffiti as a nonhuman object and placing it in a dichotomous relationship with the graffiti writer as its governing subject excludes an entire field of possibilities in advance and forecloses important aspects of how queer bathroom graffiti matters. Envisioning, as Barad does, that bodies intertwine in expansive uncontained interactions between different agentic matter, I claim that the political importance of queer graffiti is not because it is self-representative or performatively constitutive, in the Butlerian sense, but, rather, because it engages in material-discursive processes.
Like Barad, Dimitris Papadopoulos writes that Deleuze and Guattari warn, "when representations are considered separate from matter they become strategic tools for ordering and organizing material reality" In this regard, queer graffiti as a representation only has agentic efficacy insofar as it is considered to be a performative formation of matter.
In all cases, the intra-action between discursive and material matter is what affects the being, knowing, but more importantly, the doing of bodies. Following Deleuze's assertion that "we can never know in advance what a body can do. We never know how we're organized and how the modes of existence are enveloped in somebody" "Ontologie-Ethique" 3 , the goal here is not to 'discover' exactly what queer bodies do to queer heteronormative space or what queer bathroom graffiti does to queer bodies, but to work within a Deleuzo-Baradian framework to consider how these phenomena intra-act as forces mutually affecting each other in unpredictable ways.
Queer bathroom graffiti is an affective force, a bodily trace that has the potential to move matter from one state to another. Expanding on Spinoza's distinction between affection affectio and affect affectus , Deleuze explains that 'affection' is the corporeal trace, the state of the affected body, and 'affect' is the movement from one state to another in the affected body.
Affect, then, is the ability to affect and be affected; it "refers to the passage from one state to another, taking into account the correlative variation of affecting bodies" Bergsonism