The Woman in Silk Resists Proxyerotics
by Araceli Gómez Castro
‘In a lyrical introduction of nature’, ‘the group of knights presented themselves’,to ‘the woman in silk’. The woman in silk resists Proxyerotics, still she utilises digital devices for sexual encounters, to survive. In this written word, she reveals her own previously concealed secrets and argues for the value of such revelations, which not only restrict her research but could also endanger her. For example, despite the creative autonomy and a liberal cerebral outlook, the Royal College of Art does not support illegal activities. Consequently, even in her piece of writing, she has to be careful about what to write.

Right after the woman in silk moved to a clean and white flat, she was horny and tried to watch some fantasies in cyberspace. She opened the most dangerous device, clicked on Safari and searched with trifling keywords. She could not find anything because Bluebird restricted erotic websites on a national level — the restrictive notifications had a soft aesthetic. Instead, at night, she had to go out in the winter cold and wind and find someone in the street. She went, had a sexual encounter, and came back home. And like this, she met very different people every time, who touched her and did not ask for her device number thereafter.

She doesn't want to be a cyberwoman or a cybernated self. She prefers when the group of knights present themselves without intermediaries. Nevertheless, she values and validates the Cyborg as a transient element that has to serve to support the wandering, the in-between — as my dear friend wrote to me — Cybercartography across academic knowledge production and in conjunction with activists’ goals is a kind of masturbation to her.

She wonders if it is possible to participate in radically networked movements and still carry out sensual experimentation. She uses digital devices for promiscuous encounters. She plays the Salt soundtrack by James Newton Howard for the complete duration of climbing the lintels. She finds herself taking photographs in the cheapest hotel in London. She wears a reflective vest while sitting on a swivel chair. She prays. It is similar to the sensual pleasure of Victoria Cirlot, the sensual essence of Rudolf Steiner and the hyper sensual memory of Pedro de Ravena.

Is it a contradiction?. She screamed as a conclusion ‘Let us beautify and ennoble with an ambitious carnal dream’ — ‘an exchange of stone humidity.’ As Marguerite d'Oingt mentioned in the XIII century, ‘I cannot truly describe what happened there... but I firmly believe that if I had not written it, I would have died.’
Araceli Gómez Castro (b. 1994, Mexico City), MA2 Sculpture student at the RCA. A body of work formed by sculptures as a result of specific object-making, performance autoethnography and collective experiences, enduringly participating in radically networked groups.(Contents), (forms), vulnerable, messy and analytical, political, decolonial and magical, translocal, relational; self, queer.  For personal sensual pleasure and for a “common” purpose.
Instagram.com: @araceli.gomezcastro
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