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From Paris with Love

From Paris with Love

About the proper moments in Kinbaku

Within the Osada Ryu, there are some key terms that are of highest importance for a deeper understanding of Kinbaku. Two of them are Ma-ai and Kankyuu. Ma-ai is understood as the proper distance at the proper moment, and Kankyuu as the proper pace and the proper intensity at the proper moment. Thinking about those

About the direction of touches

A Japanese Rope Bondage Scene doesn’t consist only of ropes and patterns. It mainly consists of people. Especially in recent years, the focus of many enthusiasts seems to have shifted from a pattern centered approach to one where the tied person stays in the center of attention. A direct consequence of this shift, in my

When I tie with my partner

So, I told you a lot about my theoretical views on Japanese rope art and how one perceives all the stuff that happens from several perspectives. That doesn’t mean at all that when I tie with my partner, I sit there and think about the etymology of a certain word that probably occur to me,

About the direction of time in Kinbaku

A short note about my perception of a Kinbaku scene Recently, I was confronted with the question of how to explain the experience of tying. Whilst I tend to intellectualize every detail in my “free time”, I try to shut down my conscious thinking during a bondage scene. Hence, it is not trivial to explain

Impossible

that’s the name of the company which produces films for Polaroid Cameras. Impossible is nothing when it comes to different perspectives of my interpretation of Kinbaku – the Japanese rope art.

Farewell Vienna

Before I left Europe, I was wondering what to do with the big amount of ropes that are in my bags. Ropes, which are not good for tying anymore. I didn’t want to throw them away and so I came to the idea of creating a farewell present to Vienna. A sculpture with ropes that

Translational processes

“The symbolic nature and the point where the image fails.” A picture becomes a text and this text becomes a picture. One could say, the text stays a picture but the language has changed. What does change mean in this context? Is it just a change of symbols? What happens during the change of symbols?

A suggestion for a vocabulary of tying

The following text is not about terminology of patterns, positions and other stuff around Kinbaku. It is a first try for a dictionary of tying itself. Quite recently I wrote an article about a possible view on a grammar of tying. My claim was that there is no discontinuation of the conscious communication, called negotiation,