As I began doubting my own initial impulse to publish the accounts of women who have had exchanges with the manosphere leader formerly known as Daryush Valizadeh, I also started feeling concerned for the safety of the handful of women who started to come forward to be interviewed. If I were to publish their accounts, undoubtedly despite my promises of anonymity — Roosh would know who they were and they would be outed and harassed by his community.
Having been on the receiving end of that attention, I felt uncomfortable subjecting anyone else to it. Additionally, his community had begun to discuss my project as though it was slander and suggested that Roosh V sue me for libel.
Even noted PUAs are aware that the history of pickup is, frankly, pretty slimy. With each volume I find myself underling certain ideas and passages to bring into my own game toolkit. Bonus points if you love sushi. Then she asked for my name and next thing I knew she was basically interviewing me. I also noticed that I was inadvertently developing two different games: one for getting laid and another for bitching out cockblockers and stupid girls.
In this process, Dick becomes a somewhat fixed character for Kraus to project her imagination of their collaboration and relationship onto. In retrospect I feel I should have been absolutely unambiguous in my response to the letters you and Kris sent over the following months instead of opting for bemused silence. I can only say that being taken as the object of such obsessive attention on the basis of two genial but not particularly intimate or remarkable meetings spread out over a period of years was, indeed still is, utterly incomprehensible to me.
I still have immense respect for your work… I can only reiterate what I have said before: that I do not share your conviction that my right to privacy has to be sacrificed for the sake of that talent. His public explanation of my project was coming from a place of concern regarding the maintenance of his legacy within his community and the discomfort at being examined in such a probing manner — a manner in which anyone might feel uncomfortable.
By framing me as crazy or obsessive or stalker-like, he attempted to discredit any potential future interviews with women who might come forward. Tightrope Routines is a storytelling performance about admitting that my initial project was misguided despite art world validation stating otherwise and the importance of reassessing activist impulses, regardless of how righteous they may seem.
Tightrope Routines is a performance about the necessity to recalibrate approaches and expectations when operating in the social and the process of embracing complexity over a clear, well-packaged deliverable in a grant-driven research-based art context. Tightrope Routines is a story about knowing when to step back and maintain space for privacy despite an inclination toward radical transparency which is of course another mythology. Angela Washko is an artist, writer and organizer devoted to creating new forums for discussions of feminism in the spaces most hostile toward it.
Web 11 Oct Self-published via CreateSpace, Charleston, Web 11 May Testosterone is the biological cause for masculinity. Elimination of traditional sex roles and the promotion of unlimited mating choice in women unleashes their promiscuity and other negative behaviors that block family formation.
The news media interventionist strategies Igor Vamos and his BLO employed described in this article influenced my own strategies of working online — particularly with regards to disseminating information about my attempt to track down women who have had sexual exchanges with Roosh V. See: Firestone, David. Douglas, Ana. In Post , member Zelcorpion seems to believe that a male friend of mine is responsible for creating one of the gifs in the project made from stills of our interview.
I created it myself. Compared to many celebrity gifs this looks comparatively tame, but at least somewhat funny. Roosh articulated a lot of our positions very well and I think she was surprised to see the depth and intelligence in your answers. Despite both Roosh and Angela being on opposite ends of the spectrum, you were at least able to have a civilized conversation with each or at least so it seemed, since I only read the transcript.
Remember that feminist who interviewed me? I would expect nothing less. Roosh V ultimately filed a defamation suit against the writer, accusing her of completely fabricating the story after skimming through his book Bang Iceland. Drew, Jesse. Abington: Routledge, Gutierrez, Laura G. Austin: University of Texas Press, Haraway, Donna. Kellner, Douglas. Donald Lazere. Kraus, Chris. Mason, Paul. Search for:. South America. Near East and Russia. Northern Europe. North America. Far East and Australia. Southern and Eastern Europe. My correspondence with the infamous self-published pick-up artist Roosh V began on September 22nd, Sex roles evolved in all mammals.
Humans are not exempt. Men will opt out of monogamy and reproduction if there are no incentives to engage in them. Past traditions and rituals that evolved alongside humanity served a net benefit to the family unit. Socialism, feminism, cultural Marxism, and social justice warriorism aim to destroy the family unit, decrease the fertility rate, and impoverish the state through large welfare entitlements. I knew that from that point forward, the project would have to occur in conversation with Roosh himself. This presented itself as an opportunity to return to an approach to socially engaged work that is more familiar to me.
I decided to additionally reach out to Roosh to try to interview him as well as the women he has had relationships with, hoping to add another layer of nuance to the project — as it occurred to me that my initial approach was equally as black-and-white as the methodology I was critical of his and the gray areas of both pick-up art and feminism are often ignored throughout both clickbait articles and the stratified spheres of the internet.
By conducting an interview with Roosh himself, I would be able to not only learn more about his motivation — but I would also be in a position to symbolically represent a feminist who was willing to listen and engage in a civil discussion with someone from outside my own community something that Roosh and his community do not think feminists are capable of. As television becomes more and more obsolete and news media is decentralized and distributed through a seemingly infinite number of niche sources, artists have to turn to internet-based platforms to produce and distribute their critical socially-engaged works if they want them to communicate with broader audiences.
At Being the Media: Designing a New Rrradical Media , the 30th anniversary event for Paper Tiger Television held at The New School in New York City, a conference announcement text asked: Thirty years later, how can we harness collaborative culture, critical analysis, participatory technologies, and aesthetics to incite social change?
Every feminist media person has already done that. I am legitimately interested in your books, methods, and the women you bang. You could help me by connecting me to them — but this seems highly unlikely. I am actually interested in creating a more nuanced discussion of why feminism is such a polarizing topic and why it needs to change in order to have any relevance in American public life.
Regardless of the fact that I disagree with just about everything he said and the way he operates, I felt a commitment to represent him fairly. I went into the interview hoping to understand how Roosh V and his increasingly visible and mobilized community have constructed their worldview in opposition to feminism and the growing independence of women, and in turn, ask him to have empathy for those whose experiences he does not identify with. This was an unrealistic goal.
When I pressed him to explain how he was employing science in his practice, Roosh offered up his own experiential data and lived insights — which appear to have emotional overtones. One hour and thirty five minutes into our interview Roosh states: [Roosh]: No, no, no. I use logic and science. This has felt like an obvious fallacy to me, but as I continue to work in socially engaged modalities online, I know that this is a frequently-held belief by many Americans.
How can this be the case when history itself has been constructed to only include the perspectives, stakes, values and individuals deemed worthy by those in power? Like the aforementioned analysis of COPS, history has always been constructed to present the preferred account of the State.
As an artist, in my practice I want to challenge the myth of objectivity by facilitating civil conversations between those who come from completely different backgrounds, have radically different conceptions of how the world operates and have increasingly stratified sources of information and communities — particularly online.
Objectivity is inextricably linked to authority. To be in a position to claim absolute objectivity is to be in a position of power and privilege in which one feels exonerated from question and criticism. In my most hopeful and admittedly unrealistic thinking about my artistic practice, I aim to work toward a public idea of objectivity that is radically inclusive of viewpoints and experiences that have been ignored or intentionally dismissed by those in positions of power and to recognize the lived experiences, positions and perspectives of individuals coming from varied contexts often kept out of legitimized canons.
An early conversation proceeded like this: [ rooshv]: Remember that feminist who interviewed me? Brilliantly useful, fantastically intuitive, beautiful UI.
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