Monday

Mattress Girl Emma Sulkowicz NOW Award, Copulates for The Sake of Art, and As Usual, Displays her Tireless Narcissism

An excellent talk on the narcissist smear campaign and the manipulations used to gain sympathy and followers by becoming a victim. This bears watching in order to get a different viewpoint on the facts regarding the actions and words of Emma Sulcowicz in the context of her life following the breakup between she and her old boyfriend who she later accused of physical assault and rape.




I thought that if you deny, disparage, or otherwise attempt to negate another human being's opinion while making direct reference to their skin color, you are a racist. Am I right? It's almost comical to see Emma Sulkowicz throw the racist card when it suits--a juvenile way of avoiding the issue and labeling the messenger. It's also fascinating to see how she's evolved her victim status to such a fine edge that even broaching the subject of healing with an unsuitable phrase is potentially an act of violence. So much for ascending from victim to survivor. Of course, the survivor rung is in the future. Emma has only to reinvent herself again into a state of "survivor art." Oh, and btw, Emma doesn't have a problem with white women giving her awards or praising her, just so long as no one suggests she actually transcend and grow as a woman.

Fascinating. Sulkowicz has declared an indefinite victim status. How long can she play it out, you ask? Her "fear" must be validated. But what is she still afraid of? She doesn't say. And of course, she pats herself on the back at the end. She did it "my way" and the "unexpected right thing." What could that be? Lugging a mattress across campus for the camera? Nevertheless, she has attained the moral high ground as both victim and self-righteous being. 

Who can doubt her?
In this context, any ostensible ascendance from victim status, especially at this time, is not a good idea. The victim has become inextricable from the art, and the art forever fused with the victim.
It would not be difficult to characterize her entire display related to the alleged rape as an ongoing exercise in childish dishonesty and narcissism thinly disguised as activism. Not difficult at all. Here is a great timeline regarding the Emma Sulkowicz issues. Read it. Note her interactions with the university and her lack of cooperation. Her schedule just didn't match their schedule. Darn! Also, please take time to read the record of her conversations with her victim regarding their sex romps; and if you can't see dishonesty and narcissism on this page, and after watching the video recreation of her alleged rape, then IMO you have blinders on.

Here is one screenshot of the staged rape reenactment:

This is actually Emma Sulkowicz having sex with a porn actor --
complete with violence and an acting out of her distress with loud cries
I can't and won't stream her porn-ish video "art" on this blog, but you have to see this to believe it! It's simply amazing that even someone as narcissistic and dishonest and blameless as Emma Sulkowicz, trans-frankensteined by NOW and others into the perfect archetypal victim of "male power structure," willingly, and with such theatrical relish, allows herself to be "raped" on camera by a porno actor. I just never would have believed something like this, in this context, could take place, but it has. Emma did it. She found a way to launch herself into the media once again, to take center stage at all costs.

If I were ill, the sight of her copulating with this ugly bastard would make me vomit. How
Her NOW Award for Courage
can she stand to look at him much less absorb his rod? 


What in living hell is wrong with this woman? What kind of dark obsession makes this possible? As a dabbler in psychology, I see the reenactment of the violent parts (the slapping and choking) as metaphor for her emotional state in reaction to her lover parting ways with her. She felt slapped and choked by his betrayal. This was translated into an act of consensual sex becoming non-consensual. What began as an act of love evolved to an act of disappointment and ugliness, precisely like the arc of her relationship with him. The act of rape accusation thus became a "wetting of the brushes" for the school art project, a necessary condition and springboard to good grades and fame. 

In this context, any ostensible ascendance from victim status, especially at this time, is not a good idea. The victim has become inextricable from the art, and the art forever fused with the victim. A transcendence of the artist is therefore not only politically unwise, but artistically unwise. Not a good career move. 

Her lover Paul was certainly used by her. And why not? Emma rationalizes it's all the "right thing" to do. It serves the cause, and it serves her. Paul is therefore expendable. And he did betray her, didn't he? She loved him. He spurned her. 

At least he can serve a good purpose.






Observe below how the young feminist women attempt
to defend the rape video as legitimate. 
 

________










DID ‘MATTRESS GIRL’ TELL THE TRUTH?  NOT VERY LIKELY


At least for now, Columbia’s mattress saga is over. Emma Sulkowicz, the student who spent her final year on campus toting a mattress to protest the school’s failure to punish her alleged rapist, graduated at the end of May; so did Paul Nungesser, the accused man who says he’s the real victim.
There was more drama at graduation: Sulkowicz toted her mattress onstage in defiance of school regulations and later accused Columbia president Lee Bollinger of snubbing her. In related news, posters branding Sulkowicz a liar cropped up near the campus; Nungesser was reported cleared on the last sexual assault complaint against him, this one from a male student; and, the next day, one of his two anonymous female accusers told her story on the feminist blog Jezebel.
An attempt at summing up this messy saga and its lessons comes from Emily Bazelon via Sunday’s New York Times Magazine. Bazelon admits that l’affaire Sulkowicz drama highlights major problems with the current system of Title IX-based campus “justice”—including “utter lack of transparency,” which is not a bug but a feature of the system: federal law stringently protects the privacy of students involved in disciplinary cases. As a result, in an alleged rape case that has attracted international attention and scrutiny, we are mostly left with he said/she said accounts not only of what happened between Nungesser and his accusers, but of how the complaints were handled by the university. The records exist, including transcripts and video recordings of the hearings; but they are off-limits and likely to remain so.
Dispensing with Due Process
Bazelon believes this fiasco is a result of the current system’s growing pains—of “a transitional period in the evolution of how universities handle sexual assault.” But it’s hard to see what reforms would fix the problem. Even if school staff are better trained to investigate sexual misconduct reports—assuming that “better training” actually means more effective fact-finding, not more faithful adherence to believe-the-survivor dogma—this would not address the underlying issue: that activists like Sulkowicz want to dispense with any semblance of due process and refuse to respect any result other than culpability and punishment.
(Incidentally, while Bazelon correctly notes that “rape is extremely difficult to prosecute both effectively and fairly,” the kind of violent attack that Sulkowicz alleges—an excruciatingly painful anal rape during which she was hit in the face, choked within an inch of her life, and pinned by the arms—would be quite easy to prove, at least if promptly reported to the police. The physical evidence would have been overwhelming.)
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