The scope of this project clearly broaches Porn as well as Dirty Don.  But for me here and now, I am most interested in measuring Lil’D and his administration.  Pornography, not so much.  Yes, I am not a woman, I’m a man.  And indisputably, men hold more than equal burden when considering both the obscene and the political.  So while I surely tread on much sacred ground here, this project remains purely experimental.

      In 2003 when I left the television industry and began Cultural Farming, I understood that in order to properly continue my study of media, I must continue to live, deeply immersed, where video lives.  To study any culture well one should live with it, learn its language and customs, then present one’s research publicly -- and in native tongues -- so those studied can also make sense and usage of your findings.
 I am convinced that television research is best written and conducted with television.
 From this vantage, I am convinced that television research is best conducted and written with television.  This is better than telling TV’s stories with words in books.  For television told by other means is merely an exercise lost in translation.  Indeed, TV is sufficiently surreal already without the necessity of switching vernaculars.

      Television is inescapable.  Likewise, the world of video pornography is a media culture greater than any of us can imagine. If meaningful comparisons could be made, pornography would be found to be a repository every bit an equal to broadcast TV.  An unspeakable number of porn videos of every gyration are uploaded into porn-ether each and every day.  

      Pornography reaches out to every person everywhere, every second of every day, coursing through every cable, over every atmospheric wavelength, embedding inside every spark of electricity.  By every measure, porn is universal and overwhelming. So why does it appear to be so 'invisible' to so many of us?  Ha. Maybe by juxtaposing one taboo against another, I intuited, one might neutralize the insidious power of the other, in order to elicit an intellectual exchange of ideas between the two.  For instance, we  might reply by asking, “What is pornography anymore in the age of Donald John Trump?”  Aren’t immigrant children being held in cages at the U.S. border also a kind of pornography?

      Regardless, Trump+Porn seemed to proffer a correct comparative to me:

Grammar teaches the mechanics of language to the student.  This is the step where the student "comes to terms" defining the objects and information perceived by the five senses.  Hence, the Law of Identity: a tree is a tree, and not a cat.

Logic (also dialectic) is the "mechanics" of thought and of analysis, the process of identifying fallacious arguments and statements and systematically removing contradictions, thereby producing factual knowledge that can be trusted.

Rhetoric is the application and performance of language (also production) in order to instruct and to persuade the listener and the reader.  It is the knowledge (grammar) now understood (logic) and being transmitted outwards as wisdom (rhetoric).  

     But one daunting fact remained, I would have to spend a year watching as much porn on my computer as Trump on my TV.  So yes I learned an ‘awful lot’ about contemporary human indecency.
And while this project is motivated more by Trump, the porn aspect must be openly discussed, yet I care less to speak here of genre, style, or social content.  

     The porn portion of this project provides surrealist formalism through intellectual juxtaposition, which openly presents underlying specific Critical feminist (#MeToo) threads as well, for instance:  Who is holding the camera and why?  Who is pushing the buttons?  Selfie-porn?  Extreme close-ups?  Fetishism?  Celebrity?  Power?  Production value?  Again, what Realities are being excluded inside pornography?  How does its production also produce enabling?

     In comparing Trump to porn, I quickly began to see both subjects in a similar pathetic light, and their shock-value soon diminished.  Once I appropriated a piece of porn, it degraded to data, like any Trump comment on TV: Fair-Use, malleable, collage-able, empirical data-bits.  Any blush of eroticism or anger was drained, negated.  Foremost, these much too common representations became equal evidence -- both dehumanized and desexualized media.  My shoes no longer stuck to the viewing booth floor in the same way, if you get my picture.  For these images are not Life.  They represent something much less than Life, no more sacred than we choose to make them.

      But there is still a real danger when self-selecting porn material.  Have no doubt, every speck of this toxic stuff is misogynous -- 100% of it -- so I purposefully stepped around in it very, very carefully.  (Andrea Dworkin tells me so.)  The task, however, was to steer these perverted energies back against themselves.  Fighting fire with humiliating self-immolation.

     For we must never forget that the very act of photography itself is always ob-scene: too close, dangerous, and often lethal.  All of Life’s essence is vacated before a lens.  Ubiquitous image making is sedition against Real.  I spend much of my time in public running away from these cameras and screens, so I try to never wander before the cross-hairs.  In fact, after years of personal resistance, I recently tried once again to acclimate myself to cameras.  It's just not working for me.  It doesn't matter to me if it is CCTV, CNN, PornHub, or my little pocket Canon.  Images are dirty, gravenly devoid of sentient humanity.  Indeed, all images deserve much less respect than we currently afford them.  “I believe the WOMEN.”  I do not hold belief in their photographic images.
 All image depiction today, unless thoroughly vetted, 
is pornography.

      Image making is both life-taking and spirit-killing.  Watching a salacious close-up of Trump's pink pursed lips is an image as obscene as the glistening shaved vulva of a wrinkled, leathery  russian babushka.  And that is my point here.  For it doesn't really matter HOW you are depicted... it is THAT you are depicted, and then transmitted for further objectification.  All image depiction today unless unequivocally vetted is pornographic.  “STOP SEEING EVERYTHING THROUGH TECHNOLOGY, YOU'RE KILLING US.”  Pointing a camera today is quite like pointing a gun.

      As for my brain, a fair question could be whether I am damaged now too.  Who can tell?  I was often sick to my stomach building these videos.  And from the onset, I could never-ever mention this project to strangers.  Friends, 100% of the time for an entire year, always had that same look on their face, "You're still doing that? Dude, you need to get out and do some other things...(long pause)." In fact, my wife did keep close tabs on me, so ask her.  But most importantly, I glean from this research that the critical practice of potlatch works.  With every video, I remembered... and Trump’s power incrementally diminished; it felt like I was truly “resisting.”

     The very act of purposefully taking, acknowledging, reflecting, using and experimenting -- and then giving this ‘excess’ toward a higher intellectual purposes --
becomes an antibody of sorts, a protective clarifying shield against the horror displayed. Maybe this is similar to how emergency first-responders can look horror in the eye everyday and still do their duty.  Or, on the other hand, maybe it’s like when Christians see their god inside Disney... and Disney inside their god?  Yes, like that good old religious saying goes: I’ll see it when I believe it.”

     Our mediascapes are perverted waste lands, endlessly kissing, groping, fingering, and raping human bodily sense.  For our media suck all sacredness out of experience, just like “grabbing pussy.”  Our cameras are guns.  Our screens are liars.  And our normative notions of media are leading us into death.  We need robust critical methods of resistance; Trump+Porn was one pathway for me.  So who knows?  Maybe someday in the future someone will search 'Trump fraudulent presidency' and my videos will appear, archived as an historical record, most likely filed under ‘Graven Images’.

       A better bet, ultimately, is that I will be categorized as a pornographer, not that Trump was comparatively pornographic.

“The need to speak, even if one has nothing to say,

becomes more pressing when one has nothing to say,

just as the will to live becomes more urgent

when life has lost its meaning.”

The Ecstasy of Communication






An American

resident of Canada, experimenting with new forms of critical media ethnography in Cultural Farming.


                        Click to view main project & 400 videos

Preface  Premise  Project  Potlatch  Pornography  Politics  Postscript  Peroration


    Intro: The Dirty Presidency

                            January 2017 - January 2018

                   Click to view main project & 400 videos

                  intro  video           entry  video

Preface  Premise  Project  Potlatch  Pornography  Politics  Postscript  Peroration