Digital Desire: A Fortis Security Novel Book 8

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Shame and the taboo around sex actually contribute negatively to [the problem of] sexual harassment, [which] we’re now putting to the forefront with the #MeToo movement. If we’re not able to talk about sex in a positive way, how are we supposed to talk about the bad side that comes along with it? Isabella: With the internet, it’s so hard to own everything you put out. You’re always going to get misinterpreted and misused. Reggaeton is sexual dancing music; it’s all about liberating yourself and moving your body. By discovering my sexuality [through music], I’m doing my past self a favor. I’m trying to be the star I was envisioning, or the girl I needed, when I was young. Sasha: I think, culturally, we’re living in a moment I’ve dubbed stripper chic. It’s taking over everything. It’s even taken over the fashion industry; it’s taken over every aesthetic aspect of how people are presenting themselves. My worry is that people are depicting themselves in a certain way, but they’re not really understanding of their own sexuality or of other people’s. So it just [becomes] an image, and by not having these conversations about sex, [we’re] just perpetuating an aesthetic. Isabella: That’s a big problem in Honduras. It’s like you either die or you kill yourself if you’re queer.

Biz: You have both been photographed by Richard Kern, who’s well known for his explorations of female eroticism. This conversation is happening at an interesting time, especially in relation to his work, because we’re living in an unprecedented era in terms of image-making, the female erotic, and ownership of those images. A great example of this is the massive success and impact of OnlyFans, which speaks to a shift in who owns the means of production and distribution for images that activate desire. What does desire look like in this accelerated hyper-digital world?Emma Mae’s Overall Rating: 9.60/10. Overall rating based on 56024 votes from Babes Rater voters. Birthdate. Sep 19, 1991 (age 30) Babepedia Link. Emma Mae … I am known as Digital Desires . When I first started digital art I created work in a variety of styles, of fantasy and surrealism trying to discover my own unique style.I like to think of my art being special in many different ways from the creating process right through to the finished piece. I now love to create mostly what I think of as “Fantasy surreal Female Portraits." I do from time to time create using both male and female images. Sasha: It’s anecdotal, but I have friends who are queer that have had to leave their countries because they don’t feel that they can even progress in their careers.

We’re regressing in a way. I think the mainstream media has a lot to do with that—they don’t focus on positive stories. When they decide to focus on [sex], it’s either done in the same way that it’s always been done, in a negative light, or it’s done as a marketing tool to say, ‘Yeah, we support queer people.’ Culture Bookmarked: Everything the Document editors watched, read, ate, bought, and listened to in OctoberIsabella: Taking someone’s image, copying someone, or selling their images, is inescapable in this culture. There are [right] ways to do it and there are immoral ways to do it. Even right now, there are big celebrities going on OnlyFans… Isabella: It’s [all] so destroyed by the algorithm and censorship. What is the ultimate social media? Where is it going? I think it’s all about [finding] ways of making things tangible and easier to absorb because now everything’s so fast. You can’t fully grasp art in the way that it should be. The porn legend and reggaeton pop princess on sexuality, art in the attention economy, and making their Catholic guilt work for them Novelist Adam Thirwell joins Document to explain why 18th-century print culture and 21st-century social media discourse aren’t so different Art For Joan Jonas, everything is ongoing Isabella: People don’t know how to really be personable or social anymore. Social media can be so fake. First of all, [people] believe everything they read, then they cancel people. It’s like they get this fake rulebook of who’s a good person and who’s a bad person. That’s [what I like about] music. It’s so accessible—everybody can heal through it and everybody can connect through it. It’s not elitist. Coming from Honduras, I feel like music is the most healing thing for communities and for people to connect to each other.