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There are a lot of free articles here across many disciplines.
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The urge to fight someone after submitting the paper that will decide if the last five years of your life were worth the trouble (probably not, unemployment here we go).
I do wonder if we ever will reckon with the stupid paper publishing/academic journal thing is destroying academic research right now.
Right now it feels somewhat depressing. Because let's be real here: a large chunk of papers of the last two years were written by LLMs, edited by LLMs, reviewed by LLMs, and will now be read by LLMs to be summarized.
We are having a lot of conversations about this in the faculty right now. But I kinda feel this is just the logical endpoint of the way academia over the last bloody decades had put this large emphasis on the need to constantly publish papers, while nobody gets actually paid for publishing those papers - and people who want to read them have to pay about 50 bucks for a paper of 12 pages.
But generally speaking: the requirements to publish are just one of those things that makes academic work super stressful for a lot of people. So, yeah, the moment LLMs became good, this stress was being offloaded. And it is not great that this is happening, because we know that LLMs will often enough still produce bullshit.
But also it is the logical endpoint of where academia has been going for the last three decades.
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why are we so obsessed with the research gap? we are supposed to….find and fill that gap? does no one else see how innapropriate (sexy) this is getting?
My posts continue, dedicated to explaining why I find her relevant. Following Greta and the beginnings of the Grey vindication movement in the previous numbered post (don't worry, they can be enjoyed separately), in this one I'll let an academic paper speak. What you're about to read is an excerpt from: Grey, Gonzo, and the Grotesque: The Legacy of Porn Star Sasha Grey, written by Rebecca Saunders (I'll include the full reference at the end). Interested in reading?
Continúan mis posts dedicados a contaros por qué ella me parece relevante, y tras Greta y los comienzos de la reivindicación de Grey en el anterior post numerado (tranquilos, son disfrutables por separado), en este dejo que hable paper académico. Lo que vas a leer a continuación es un extracto de: Grey, gonzo y lo grotesco: el legado de la estrella porno Sasha Grey, escrito por Rebecca Saunders (dejaré la referencia completa al final). ¿Te apetece leer?
As the reference to the human condition suggests, Grey is particularly interested in exploring physical and psychological limits through a range of subcultural creative modes. Grey founded aTelecine, an experimental psychedelic death dub band. On social media, she displays her interest in social disintegration and chaotic anti-meaning, tweeting, for example, her enthusiasm for the 1970s Dadaist performance collective COUM Transmissions and, elsewhere, brandishing the book Existentialism, from Dostoevsky to Sartre, with a knowing smile.
Como sugiere la referencia a la condición humana, Grey está particularmente interesada en la exploración de los límites físicos y psicológicos a través de una gama de modos creativos subculturales. Grey fundó aTelecine, una banda experimental de death dub psicodélico. En las redes sociales, muestra su interés por la desintegración social y el antisentido caótico, tuiteando, por ejemplo, su entusiasmo por el colectivo de performance dadaísta COUM Transmissions de la década de 1970 y, en otros lugares, blandiendo el libro Existencialismo, desde Dostoievski hasta Sartre, con una sonrisa cómplice.
Her 2011 photographic collection, Neu Sex, which features interspersed texts on visual culture and sex work, was created, Grey explains, as a companion to commercial pornography performances over which she had less aesthetic control. Alongside fashionable photos of Grey looking beautiful in extravagant settings, the book focuses primarily on rejecting the artificial glamour of pornographic culture, instead showing the sordid and decaying reality of sexual bodies.
Su colección fotográfica de 2011, Neu Sex, que presenta textos intercalados sobre cultura visual y trabajo sexual, creada, explica Grey, como acompañamiento a las performances de pornografía comercial sobre las que tenía menos control estético. Junto a fotos fashionistas de Grey luciendo hermosa en escenarios extravagantes, el libro se centra principalmente en rechazar el glamour artificial de la cultura pornográfica, mostrando en cambio la realidad sórdida y descompuesta de los cuerpos sexuales.
Through these mediums, Grey demonstrates her interest in existential thresholds; her 2013 erotic trilogy, The Juliette Society, is also replete with references to French sadomasochistic cinema and literature, and to Freudian psychoanalysis. This affinity for what Leo Bersani calls “ecstatic suffering,” “the enjoyment of exploited limits” that occurs “when a human being is ‘pushed’ beyond a certain threshold,” provides context for understanding Grey’s work in adult film, and why the raw intensity of gonzo constitutes a particularly well-suited film style for her. However, it also situates her within a more alternative pornographic tradition, where the creation of pornography is conceived as a potentially intelligent and creative process that constitutes only one creative avenue within a “broader interest in cultural and lifestyle issues” (Attwood 2010, 2).
A través de estos medios, Grey demuestra su interés por los umbrales existenciales; su trilogía erótica de 2013, The Juliette Society, también está llena de referencias al cine y la literatura francesa sadomasoquista y al psicoanálisis freudiano. Esta simpatía por lo que Leo Bersani llama el «sufrimiento extático», «el goce de los límites explotados» que se produce «cuando un ser humano es «presionado» más allá de cierto umbral», proporciona un contexto para entender el trabajo de Grey en el cine para adultos, el por qué la cruda intensidad del gonzo constituye un estilo fílmico particularmente adecuado para Grey. Sin embargo, también la sitúa dentro de una tradición pornográfica más alternativa, donde la creación de pornografía se concibe como un proceso potencialmente inteligente y creativo que constituye solo una vía creativa dentro de un «interés más amplio en cuestiones culturales y de estilo de vida» (Attwood 2010, 2).
It is this blend of dominant elements from both alternative porn and gonzo that has been fundamental to Grey’s relevance. The New York Times, for example, describes the artist as “distinguished both by the extreme demands of what she is willing to do and by an unusual degree of intellectual seriousness in doing it” (Heyman 2011); Rolling Stone similarly states that Grey “rose to fame because of the intensity of her scenes and the intelligence with which she defended her right to film them” (Morris 2014). She is described as “the first Hollywood porn star in the internet age to conceive of pornography and self-degradation as postmodern art” (Tavana, 2016). While the androcentrism associated with gonzo and the often feminist ethical logic of much alternative pornography imply that these styles are often understood as fundamentally opposed, Grey demonstrated important ways in which they could overlap. In fact, in his exploration Grey proposes a way in which an alternative gonzo could operate, defining his performances as deliberate and aesthetic explorations of bodily (sexual) limits, turning many of the dominant characteristics of gonzo into expressions of his particular artistic vision.
Es esta mezcla de elementos dominantes tanto del porno alternativo como del gonzo lo que ha sido fundamental para la relevancia de Grey. El New York Times describe a la artista, por ejemplo, como «distinguida tanto por la extrema exigencia de lo que está dispuesta a hacer como por un grado inusual de seriedad intelectual al hacerlo» (Heyman 2011); Rolling Stone afirma de manera similar que Grey «saltó a la fama gracias a la intensidad de sus escenas y a la inteligencia con la que defendió su derecho a filmarlas» (Morris 2014). Se la describe como «la primera estrella porno de Hollywood en la era de internet que concibe la pornografía y la autodegradación como arte posmoderno» (Tavana, 2016). Si bien el androcentrismo asociado al gonzo y la lógica ética a menudo feminista de gran parte de la pornografía alternativa implican que estos estilos se entienden a menudo como fundamentalmente opuestos, Grey demostró importantes maneras en que podrían superponerse. De hecho, en su exploración Grey propone una forma en que podría operar un gonzo alternativo, definiendo sus performances como exploraciones deliberadas y estéticas de los límites corporales (sexuales), convirtiendo muchas de las características dominantes del gonzo en expresiones de su particular visión artística.
