Ninja Pirate Books

BDSM is typically defined as a subculture or different lifestyle choices for adults with particular leanings 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 conduct for activities undertaken within the scope 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 props 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 controller 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 internet. 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.

Abstract Art is a modern movement in American painting that was instigated in the late 40s and turned into a dominating trend in Western painting through the 50s. The leading American Abstract Expressionist painters were Jackson Pollock, Willem de Kooning, Franz Kline, and Mark Rothko. Others were 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. The majority of those worked, lived, or had exhibitions in New York City.

Although it is the common designation, Abstract Expressionism is not an accurate title of the kind of art created by those artists. Indeed, the movement was made up of various different painterly styles varying in both technique and quality of form. Despite this variety, Abstract Expressionist paintings possess several common traits. They are primarily abstract — in effect, they show forms that are not drawn from the outer world.

They furthermore master open, spontaneous, and personal emotional expression, and they exercise vast freedom of technique and application to achieve this result, with a special emphasis targeted on the use of the malleable physical characteristic of paint to create expressive qualities (like, sensuousness, dynamism, violence, mystery, lyricism). They exhibit the same kind of importance on the unstudied and intuitive use of the paint in a sort of psychic improvisation in the manner of the automatism of the Surrealists, with the similar goal of finding the influence of the creative unconscious in art. They exhibit the conscious abandonment of regular structured composition found out of discrete and segregable aspects and their replacement with a single unified, unvaried grounds, network, or other image that exists in unstructured space. Last, the paintings fill big canvases to allow these aforementioned visual signs both monumentality and engrossing power.

The earlier Abstract Expressionists had two iconic forerunners: Arshile Gorky, who painted suggestive biomorphic figures in a free, delicately linear and liquid paint application; and Hans Hofmann, who made use of dynamic and strongly textured brushwork in his abstract but conventionally constructed paintings. An early special influence on nascent Abstract Expressionism was the arrival on US shores in the late 30s and early forties of a troupe of Surrealists and other such European avant-garde artists fleeing the Nazis in Europe. Those European artists quickly moved the native New York City painters and gave them an intimate insight of the vanguard of European painting. The Abstract Expressionist movement itself is generally seen as having started with the pieces done by Jackson Pollock and Willem de Kooning in the late 40s and early 50s.

Remembering the variation of techniques of the Abstract Expressionist movement, three broad approaches can be found. One was action painting which is indicated by a loose, quick, dynamic, or violent handling of paint in sweeping or slashing brushstrokes, and in techniques largely dictated by chance, for example dripping or spilling the paint straight onto the canvas. Pollock initially practiced action painting by dripping commercial paints on a raw canvas creating layered and tangled skeins of paint into stimulating and suggestive linear patterns. De Kooning utilised very vigorous and expressive brushstrokes to create richly coloured and textured images. Kline specialised in strong, sweeping black strokes on a white canvas for starkly monumental forms.

The next approach within Abstract Expressionism is exhibited by a number of varied styles going from the highly lyrical, delicate imagery and fluid shapes found in paintings by Guston and Frankenthaler to the clearly structured, forceful, almost calligraphic paintings of Motherwell and Gottlieb.

The remaining and least emotionally expressive ground was that of Rothko, Newman, and Reinhardt. These painters took large areas or blocks of flat colour and thin diaphanous paint to master quiet, subtle, almost meditative results. The top colour-field painter was Rothko; many of his artworks consist of large combinations of soft-edged, solidly coloured rectangular fields that tend to shimmer and resonate.

Abstract Expressionism had a important influence on both the American and European art circles in the fifties. Indeed, the movement instigated the change of the creative centre of modern painting from Paris to New York City throughout the postwar period. Through the time of the fifties, the the movement’s younger participants increasingly heeded the trend of the colour-field painters. By 1960, these practitioners had largely moved away from the hot expressiveness of the action painters.

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