Cad Pagu no.38 Campinas Jan.

/ June 2012
http://dx.doi.org/10.1590/S0104-83332012000100007

Altporn , bodies, and clicks categories: ethnographic notes on online porn

Carolina Parreiras Ph.D. in Social Sciences from the State University of Campinas (Area of Gender and Sexuality) with the guidance of Professor Dr Maria Filomena Gregori and funding from the Foundation for Research Support of the State of So Paulo (FAPESP). carolparreiras@gmail.com

ABSTRACT
This article discusses the topic of porn videos found on the internet, to think about the possible impacts and modifications provided by this technology in ways of pornographic representation. The choice of online took from the realization of the tremendous growth and market segmentation porn in this space, as well as national and transnational constant attempts to control the content posted on the network, whose main points of discussion are pornography, pedophilia and piracy. So, I intend in this paper, from an anthropological perspective, addressing the ways in which online erotic acts in the market, especially in Brazil, increasing segmentation pornographic genre and allowing the growth of so-called alternative porn ( altporn ). To this end, I will take as my database of empirical research focusing on the Brazilian website pioneer in the production and marketing of alternative pornography. My intent is to see how production is organized this branch of pornography with close liaison with technological advances - and what genre conventions are operating in this segment from the observation of bodies, desires and sexual practices found in images and videos. Keywords: Pornography; Altporn ; Cyberculture, Internet.

Introduction
Since the dawn of the internet, even in the early years of the 90s, the web has been used as a means of establishing relationships, create communities and serve the most diverse types of content, including always deserved prominence representations involving sex, pornography and eroticism. My current research focus has been deemed pornographic representations - images and videos available in free and paid sites. In recent years, the relationship between pornography and internet became increasingly prominent in the international debate, especially by increasing concern about child pornography, as well as piracy. Accordingly, a number of countries including Brazil - have made efforts to create laws that include practices conducted online . If passed, these laws will affect the ways in which the internet is used, creating a field of permissible conduct and legitimate. Everything outside of that domain can be framed as the norm violation and thus criminalized and punished. The current situation, in a way, is not a novelty. If we make a plot of the story that typifies as pornography, we see that in many instances appear to secrecy, lawlessness, harassment and arrests. There are several disputes on this issue, since the legal discussions, through the feminist movement and the interests of the market. There is far and maybe there is a consensus around this category and what materials should or could be typified by it. If on one hand there are repeated attempts to control the other can be found growing increasingly pornographic market segmentation, and the internet acts as a key factor in this process, as it allows the creation of niches and subgenres and more More specific. Just to give a sample weight of pornography on the Internet: according to some quantitative research, about 40% of the activities conducted online involve some pornographic content. One research direction nesste conducted by HitWise (consulting and marketing online ) in 2008, estimates that about 10% of searches done by Internet involve pornography ( fri and porn appear as some of the words most searched on Google ). Other searchesFirst made in 2009 stated that, on average, 43% of Internet users around the world access material deemed pornographic and that 35% of all downloads made involving pornography. Tancer (2009) from the Hitwise database, set out to understand what people do when they are online . What the data show is that a substantial part of hits2 involved pornography. Another insight valuable in raising Tancer concerns the ways in which changes in the web were important for the production and consumption of pornography online . According to him, If we think in the summer of 2007, the same search term ("sex") directed traffic to online video sites ( www.metaface.com and video.google.com ), for a social encyclopedia ( www.wikipedia.org ) and for the social network MySpace, indicating that consumption of adult content in the world had moved static display of videos

and images to the world of Web 2.0, where media generated and consumed by users and social networks play a central role3 (Tancer, 2009:35). With the so-called web 2.04 , an increase of possibilities of production, marketing and interaction. It is not just technological advances, with the improvement of the quality of images and sounds, but especially new alternative creation. As there is a need for more expertise to use the programs and technology became increasingly mobile, anyone is a potential producer. Come hence the significant growth in the number of amateur videos, the emergence of a number of sites with interaction via webcam , and as an interesting effect of this process, the strengthening of alternative genres to mainstream, as, for example, altporn, the kink ( BDSM and fetish porn) and feminist pornography. So my proposal is to think how was in the Brazilian case, the emergence of alternative branches of pornography to mainstream and is widely used as the virtual form of disclosure and even to the formation of communities of consumers / producers. This proves relevant in that it provides elements to think about the ways in which sexualities are represented and experienced in these new segments of porn, either while breaking with patterns of pornography mainstream or as generators of new conventions and categories. The discussions presented in this article, as well as ethnographic data that underpin them are the result of my research field whose focus has been the only producer of altporn in Brazil: XXP.5 I have been following the whole production process until the videos are edited and are allocated on site, as well as the varied interactions involving people, avatars, technology, media / social networks (Facebook and Twitter), sex, pornography, the researcher erotic and the market in a broader sense. Ultimately, understanding these many relationships and how this scenario is organized allows me to think not only meeting between pornography and internet, but also the relationship between what we call online and offline.6 The text is organized into two groups. At first, I review theoretical and methodological studies about pornography and erotica and especially regarding dealing with his relationship with the internet. In the final part, I focus on the XXP, production of videos and relations who've been following in an attempt to provide the first steps towards understanding what pornography is named alternative, that conventions of gender and sexuality which it operates and mobilizes social relations.

Pornography, the Internet and academic studies: a brief history

Discussion involving themes pornography and erotica are almost always surrounded by a number of contentious. Right from the start there is a consensus between what typifies how each of them, and the two terms appear immersed in legal disputes, the market, the feminist movement and academic. It is worth noting that working with a prospect who thinks pornography and erotica as contextually

constructed from different positions of power. Thus, they have no intrinsic meaning and are in a constant process of transformation. Despite the existence of a consolidated field of study that focus on pornographic depictions, it is noticed in recent years a diversification of topics, including understanding the relationship between technology and pornography. According Feona Attwood (2002), to carry out a field study of eroticism and pornography can be seen a paradigm shift in his thinking. She locates the position works in two key references for this change: The Secret Museum (Kendrick, 1995) Thinking historically category as pornography - and Hardcore (Williams, 1999) - in which there is an analysis of the texts porn texts while. The main turning and thinking that allows the modification of paradigms is that pornography is no longer thought of as just radical positions or in terms of the evils that causes or consequences to those who consume and passes to be studied from a contextual bias. Parallel to this shift in focus, Attwood shows the growing influence of cultural studies, developing new aspects of the feminist movement that thicken the postures pro-sex, and also changes in media representations of sex and sexuality. In Brazil, some years has been establishing a field of studies on market erotic pornography being one of its axes. Stand out as important references investigations: porn bizarre (Leite Jr, 2006), the new faces of eroticism (Gregori, 2010); erotic relations between men in sex clubs (Bronze, 2010); women and BDSM practices (Facchini, 2009) and behind the scenes of the porn industry mainstream national (Bentez-Daz, 2010). The current moment would thus be labeled by a variety of pornography, which, in some instances, attempt to unite and sexually explicit policy radical, for example, the call pornography feminist. To the extent that proliferate various segmentations of the pornographic genre and new niches arise what one has is the increasing difficulty of establishing boundaries between pornography and other forms of representation. In this segmentation process, the online comes as a major factor from the moment that changes the way people produce and consume pornography. A brief review of methodological character proves necessary, even from where to place the data that will be presented throughout this text. In my research work and always try to do the empirical incursion from an alternative provided and facilitated by the internet: follow streams (data, information, people, conventions). As will become clear, although from the internet, this research is not restricted to it. By tracking the movements and flows involving people linked to the erotic market, the technological apparatus itself and pornography, I noticed that many other places, spaces and relations are mobilized in order to take the production of altporn . When thinking specifically this encounter between internet pornography and stand out - since he is still talked about web 1.0 - some research in different areas of the social sciences to teach a bit about weight in this activity online . Slater (1998) reflects on the exchange is " sexpics "- understood as any sexually explicit material

- IRC (Internet Relay Chat), one of the first web mechanisms to allow file sharing between users. According to Williams (2008), the growing concern of governments and enterprises with pornography is justified by the massive entry of erotic representations in the houses, with the difference that online also allows real-time interaction and placement of the Internet itself - through your avatar and virtualization of their body - in the middle of the chain of relationships. It's no longer just a passive spectator looking at the screen, but a body / avatar that interacts and becomes someone who produces (the example she explores are more sites of interaction by webcam ). Furthermore, the author notes that the experiences of cyberporn may be multiple and are available to internet users from different channels, ranging from films mainstream until more conventional initiatives that break with certain conventions. Thus, The experiences of cyberporn today can cover rent or buy a DVD, do download a game, log into a site like cam.whore , buy a one-shot-only pay for play, visit various websites that offer various shows and sex guidelines, or interact via virtual sex through the bodies of their avatars games "massively multi-player" like Second Life7th . (Williams, 2008:321) Also among the productions that take focus on Internet pornography, Attwood (2007) is one of the main references when it comes to studies of alternative pornography. It proposes to consider sites that are entering this classification, one of the SuicideGirls8 ( www.suicidegirls.com ), which became the best-known exemplar and successful in altporn . These sites represent an alternative to porn mainstream and shafts combine commerce and community: they are paid sites, but they have the intention to unite people who enjoy pornographic aesthetics that convey in a group that interacts online. The author believes that online is not simply an extension of commercial pornography offline , but creates new opportunities for production and consumption, blurring, in many instances, the divide between producers and consumers (eg are the amateur videos or even the sites of webcam live). Moreover, there would be a change in the logic of industry and changes in some of the conventions found in porn. Thus, the rapid growth of new forms of online pornography and cultural tastes that grow around them are blurring the boundaries between porn and other aesthetic forms of sex between commercial and non-commercial, community and between consumption and sex as between representation and self -presentation, recreation and relationship. This raises new questions about what we mean by sex trade and how we can make your study9 (Attwood, 2007:453). Finally and before entering my ethnographic notes, I think it makes sense to think of a differentiation of pornographic materials found online . Paasonen (2010) draws

attention to the existence of two possibilities - aesthetic, political, economic and technological: the porn on the net and netporn . The porn on the net would be a recycling videos, texts and pictures and porn sites in its allocation. No pornographic materials are produced specifically for the Internet and can be easily found on free sites similar to YouTube. Commonly associated with what is called the porn industry, this material is characterized by standardization, and passive consumption logic of sameness (Paasonen, 2010). Already the netporn is characterized by representing pornography own platforms and networks online . The biggest examples are altporn and amateur videos. Some points are remarkable when it comes to pornography produced specifically for the internet and the possibilities provided by new technologies: a review of the boundaries between producers and consumers, growth in the number of alternative or independent events, attempt to change the conventions of porn more conventional referential queer and non-normative, seeking to break with practices considered oppressive and found in mainstream (example is pornography feminist), resistance to commoditization ( commoditization ). Although these two typifications are established, it should be noted that the boundaries between them are tenuous and are trading in different scenarios. You can not say, for example, that all pornography is not intended to be an alternative commercial or profit. What happens is the formation of new markets with a consumer audience for each of the various productions and aesthetic proper to each one. Thus, Pornographies alternatives ( netporn ) has been, since the sites kink to the subcultural pornography, fueled by images of commercial pornography ( porn on the net ) that apparently subvert. If pornography independent appropriating elements of porn called mainstream while abandons or ignores other, this is a case where there is vice versa10 (Paasonen, 2010:1301).

Altporn in Brazil: XXP

Speaking of Internet pornography is immediately invoke an endless series of representations ranging from free sites11 and aggregators of several segments of pornographic videos ( Xvideos, RedTube, YouPorn and PornoTube ), and even paid sites dedicated to niche markets increasingly specific. By following the many streams propitiated by mappings realized that online , I ended up centering the focus on representations that were possible from and online , ie they were in intrinsic relationship with the new technologies and the opportunities this offers. It was thus that I came to XXP, single enterprise altporn in Brazil.

The XXP had its origins in 1998 when three friends who had a band of punk rock decided to take a borrowed camera and make a pornographic video with dolls Barbie . The video - titled Plastic Lesbians - ended up being selected for the Festival MixBrasil and presented at the Museum of Image and Sound in Sao Paulo, when they decided to quit music and invest in pornography. Despite having three partners, much of the work - from the scripts until his execution and later edition is made by Rufus12 and Lola.13 As I narrated Rufus, the beginning was very amateur, with a mixture of music and video recording. The Internet enters the production process right after, and it was through her that they reached the first actress - a name well known in the Brazilian market pornographic in the 80 sites of precursor and camera - who worked with them. The first film was made with no budget, the actress received no fee and the plot revolved around situations afforded by the internet: dating online , use the webcam for masturbation, and the apex of the video is when she masturbates with a joystick Atari. Around the same time, they were editing a fanzine - the JB (name used today in the production avatar on Facebook and also to name the character created to sign the texts contained in the fanzine: a madam named JB) circulated for about 2 or 3 years. The first videos - even VHS - were distributed with the fanzine and shipped to buyers by mail. I conducted the interviews make clear that this initial phase there was any attempt on their part to fit your productions on a specific segment of pornography. The label altporn appears only years later, as I narrated Rufus: At that time even the theme altporn not exist for us. He had a name. We did porn. We liked Buttman14 and were doing porn. The closest we had was gone we saw once ... Gallery on the Rock had a magazine, we did not buy because it was too expensive, with punks naked. That was the first thing altporn I've seen in my life. I think it was a European magazine. (...) So far it did not exist for us. We were doing porn, period. Despite not having a name, you may recognize this early some traits that characterized the production as altporn : the standard bodies displayed - girls with tattoos or some other kind of body modification and identify with a scene more alternative and independent ( nerdy, indie and associated, in So Paulo, called the Low Augusta) in terms of music and lifestyles - using toys fri15 and the presence of some scenes of fetish and BDSM, as podolatria, moorings. Video production only became a business in 2000, and for a while they produced materials that were distributed on DVD by companies linked to the mainstream and had some content in blogs (first on the platform and then the Blig HPG). That's when they record producer by the name of Red Light. Nowadays, it is divided into three sites: the XXP dedicated to altporn , the Fetxxx, in which the focus is on videos fetishists and BDSM practices ( Real BDSM powerplay , submissive beautiful women, slaves, fendom, submissive evils violated by beautiful dominatrixes, hot

piss on wet pussy, slave training, anal playground16 ) and Fsxxx, a kind of amateur professionalized ( busted, amateur, hooker, bandalheira and naughtiness ). Recently they have also launched a website called BP ( Find the woman you demand ), devoted to the search for porn stars. At this site are profiles of these actresses with their contacts and ways can be found: phones, Twitter, Orkut, Facebook, personal website, and if they also act as prostitutes or escorts, link to your review in GP Guide.17 Despite this separation, or several of these "experiments", as they described in a post on Twitter, the axis that unites the three sites is the idea of doing something pornographic flee the practices associated with more conventional mainstream. Even though there is the creation More specific classifications, such as pornography fetishist, yet it is somewhat comparatively alternative, independent and aligned with a certain aesthetic trying to break the standards bodies, sexual practices and desires present in most conventional commercial pornography . In the description of the old site - the new just entered the air - they themselves try to define what they do: The XXP is the meeting of three guys and diverse groups of people together produce pornography. Nothing we do is art. We can appropriate the work of other artists, but all that comes here becomes pornography. We ignore what they call artistic nudity or eroticism. Eroticism is the pornography of the oppressed. (...) We believe in connections, so we rely on other people and groups to make everything we do more interesting bands, designers, poets, prostitutes, webdevelopers , writers, drunken friends, reporters, strippers , designers, dancers, engolidoras Fire, photographers, actors and actresses of the porn industry, vendors, broadcasters, videographers, finally, a flock of misfits. It is clear the idea of uniting people of diverse backgrounds and positioned in different places around the production of pornography. This was one of the first points that caught my attention, not only for being the site and be reaffirmed in Twitter posts, but also in interviews. Behind the venture, there is the desire to create alternative porn around a community of people who share certain ideas and like a certain aesthetic, whose initial goal is to escape the dictates - of bodies, sexualities, desires and pleasures - most pornography conventional, but is not limited only to it. It involves a lifestyle with music, ways of dressing, places and people who use this style. Hence came the idea to redesign the site and turn it into a more interactive platform. Taking advantage of the possibilities of Web 2.0, the idea is to connect people who are somehow involved with pornography, whether they are producers, actors and actresses, photographers, bands who want to tow your work site and the public consumer. Walk this way to change the logo of the site. Where would appear before writing "XXP. Adulterating the underworld" now reads "XXP. Connecting the underworld." Only these two logos already offer a number of elements to think about and better understand the ways pornography, and internet people organize themselves when

speaking in altporn . The first point is the presence of the word underworld. At first glance, this may seem derogatory term, thanks to the sub-prefix, but I think he has a very clear sense. Goes hand in hand with broader proposals of the creators of XXP, which are placed in the description transcribed above: this site people will find pornography - and a very specific type of it - but also an aesthetic that goes with it. In some ways, it resembles appointed by the international literature (Attwood, 2007 and Paasonen, 2010) on altporn , genre that is almost always linked to certain subcultures, trends and independent aesthetic. It is, however, a caveat: I use and underworld subculture while micos terms. Anthropology has a long tradition of discussion of these concepts and theory rather work with the ideas of flows and networks in order to encapsulate the subjects not fixed as part of a group or community. Flows allow think about connections, relationships and contingencies which are constantly being built and rebuilt. Underworld works for XXP as the aggregator people, practices, spaces, sexual acts, bodies and lifestyles of those who flee taken as more traditional / conventional. And that is expressed in videos, photos, locations chosen for filming, bodies that come into play (tattooed with piercings and not necessarily linked to beauty standards more socially valued), postings on Twitter and partnerships that have signed with different people18 - whether or not linked to the erotic market - moving through places and more alternative styles. Regarding the change of the verb that follows the word underworld, believe there is an inflection important when tampering (synonymous with corrupting - and here perhaps there is the idea that pornography violates certain conventions and morals) is replaced by connecting the message they wish to convey changes and becomes part of an initiative in which the change is a key part of the site. By taking advantage of the possibilities offered by digital platforms increasingly interactive, the site becomes more functional and allow subscribers to create profiles to interact with other members (who makes XXP, actresses, producers, bands, employees). Partnerships are multiple: bands identified with the scene more independent and wanting to publicize their work on the site and / or in the movies, other content sites relating to sex, film festivals, project rescue of burlesque. According to Rufus, XXP is the idea of being a "hub subculture." It is also clear - and here Facebook and Twitter are the producer to realize the strategic potential interactions and networks of relationships - the attempt to aggregate the buying public. In my view, the time at which this happens is more clearly when they perform transmissions of recordings through a tool provided by Twitter - the Twitcams .19 The first transmission was as content writing a scene between Andressa - a very participatory actress on Twitter and who later went on to call himself one expert Twitcam - and Momo - well known actress of the Brazilian public and whose Twitter profile passing the 20 thousand followers. The Twitcam was scheduled for a Saturday afternoon and the scene was broadcast for free and in real time to all users who want to watch. The link to the broadcast was posted in profiles Andressa, Momo, Red Light and Lola20 (replicated and

instantly via retweet ). In the peak period, with 2 cameras open, I recorded about 20 thousand accesses (there's no telling 20,000 people because the same individual could access the 2 cameras simultaneously). During Twitcam was also the revelation that Momo's profile on Twitter was fake and had been created by a fan. I think the idea of holding the transmission mode as a pornographic scene is designed and built has many explanations. Besides spreading the producer and the material it produces, the Twitcam succeeded in giving to the acts passed a dose of reality perceived through the orders of the director, the positioning tips for actresses, photographers moving, the conversations of actresses before, during and after the scene. Moreover, it was an attempt to bring the audience the actresses and people behind the scenes, which, otherwise, would reach consumers only after editing. Regarding the content of the site, some considerations. As mentioned elsewhere in this text, one of the main goals of altporn is subverting some principles present in pornography more traditional or mainstream. Generally, the more conventional films follow a formula and a script : movies for lesbians or heterosexual men; centrality of anal sex; erasure of man, which boils down to the penis (in most videos, it appears even your face); mandatory enjoyment, observable by the moans and other sounds usually female and the penis that ejaculates - called the money shot - toward the camera and preferably on the face of the actress. This script is very similar to that described by Benitez-Diaz (2010) in his ethnography on the sidelines of the Brazilian porn industry. According to her, porn presents a choreographic and ritualized sex, sexual positions with very specific and standardized duration. One point that stands out is the attempt to show positions always fleeing the "mom and dad", supposedly the type of sex practiced by people in general. Thus, there is a proliferation of "new" positions and the centrality of the anus, whose penetration would be a transgression of the rules. The altporn also operates from a script and conventions very own, but his background is almost always show positions, practices, fetishes, desires and bodies that do not normally appear in porn mainstream . The first point that stands out is the low participation of men in the scenes and photos. The vast majority of productions meant only women, alone or interacting with each other. In interviews, both those who produce the videos, as with the actresses, the same factor is mentioned to explain the lack of men and material with gay theme: the difficulty of finding among Brazilian actors bodies that fall within the search XXP and working conditions offered by it. We work with some guys today. There's a guy who works with us yet, will do the monster [here he referred to a production that was filmed]. One of them turned believer, married, gone to interior. The other disappeared. Also stopped. (...) We know little actor that fits for us. For example, there's a lot out there. The Jam, Kid ... but it has to match what we're thinking, right? (...) There is an actor who can do

10

a gay scene that is not pumped this stereotype, you know. "I'm pumped, I'm pedreiro." Then there falls. (Rufus) I believe that in addition to what stated Rufus the absence of men is also tied to attempt to break with the dictates of more conventional porn, especially with what is seen in the films lesbians for men. So there is a great use of fri toys (or joystick video game or a cable shovel) and differential treatment of actresses: they can opine, choose the scenes that make and even who will play opposite. Regarding actresses there is a pattern in appearances and bodies used in the videos and pictures: almost all of them have body modifications - tattoos and piercings and need not necessarily be thin or fit into more conventional standards of beauty. On site there is even a part ( Xgirls ) where girls can apply to participate in production or have their photos published. The prerequisites for this are, according to native terms: having legal majority, like pornography, send pictures with good resolution and light, have no problem with nudity and do not give importance to the opinion of others. Moreover, the selection is made by the cast themselves, having already participated both women already involved with the erotic market especially prostitution - as others without any prior connection. The standard body favored by them (and the opposite of pornography mainstream ) it is clear that speaks of Lola: What we have in this porn conventional, mainstream , better known? We have women with long fingernails, long hair, giant ass, no tattoos, busty and skinny. The delicious. That's what we have. The XXP has it too? Has. But she's the girl on the corner there. You know, the neighbor. That would be a chubby girl, a girl would be littered with the nail, the nail without doing it would be a girl with short hair, it would be a whole tattooed girl, a girl who would skate, would have a girl rock band. Could be me. Could be anyone. There's a movie we do with a lady and not a lady MILF. When you do go with an older woman, you do with MILF, right? The mother you could eat. And then you make hot. In our case no. It's a woman - sorry - more buzzing. She's in there a common pattern. She is a homemaker. -Faced housewife. The scenarios present in videos and photos are also trying to escape the conventional. With less production and less assembly, the idea is to record in unusual places, sometimes flirting with what most considered dirty and decadent (again back here to mark the underworld). They appear in the videos, cheap motels rooms, dungeons BDSM club, a factory of spices disabled, busy little streets, a center "(anti) cultural" located near the Rua Augusta and well known in the alternative scene of So Paulo and the room itself21 the producer. Regarding sexual practices and the scenes themselves, most of the videos have only XXP girls engaged in lesbian sex or masturbating (and for that they use different types of accessories and toys fri ). There is also great emphasis on productions that include different fetishes and BDSM practices. Then came the creation of Fetxxx22 . The idea is to show sexual practices, such as, fendom, pet play, leather, spanking , podolatria, pissing . As practice BDSM and fetish (or kink as they are known in the international market porn) tighten the boundaries of

11

sexuality and gender more conventional, they come as part of the segment altporn as a whole. Anyway, as the bodies shown are quite plastic, sexual practices are too. The only apparent restriction involves scatology, sex with animals or other acts falling within the genus known as porn bizarre. Finally, it is worth a note about the consumer market. Something that intrigued me from the beginning was whether they could get an idea of who the audience of alternative pornography in Brazil. Lola and Rufus to inquire about the matter got very similar answers: that there was a certain group of people interested in this type of videos and most of them had a very close relationship with the internet and digital platforms. In the words of Lola, the XXP is "porn nerds." I think this confirms what I said throughout this text: who consumes altporn is also consuming a specific lifestyle and linked to certain tendencies that would be considered alternative, independent or even modern. *** What I tried to show in this article, the result of an ongoing study, were some of my rambles on and offline in the quest to understand how the internet works in the pornographic Brazilian market, segmenting it and enabling experiences as XXP. Perhaps one of the biggest findings to date show that it was the junction between internet pornography and creates relationships that can go beyond erotic and online . What we have are people, classes, conventions, technology, sex, pornography, avatars, spaces, places and bodies in constant motion and movement.

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WILLIAMS, Linda. Screening Fri . Durham / London, Duke University Press, 2008. [ Links ] _______. Hard Core. Power, pleasure, and the "Fren zy of the visible". Berkeley / Los Angeles / London, University of California Press, 1999. [ Links ]

Received for publication October 5, 2012, accepted for publication November 10, 2012.
1 These surveys are conducted annually with very different purposes. In general, surveys are responsible for consulting firms, government agencies, antipornography (the main one is the National Coalition for the Protection of Children & Family, headquartered in the United States), newspapers and magazines or even companies involved in production and distribution of pornographic content. Undoubtedly, the data are conspicuous by their inaccuracy and often the lack of neutrality, which means that they should be regarded with caution. This is due to the interests involved in the execution of surveys and already pointed difficulty of mapping the web. For more information 2 Some more statistics may help you understand a little better the relevance of pornographic materials on the web. One of the most replicated (including the U.S. government) is the Philip Stark (2008), in which he claimed - from data provided by Google and Microsoft - that the internet is 99% porn-free. Tancer (2009), despite having a limited database (Hitwise survey only had access to U.S., UK, Hong Kong, Singapore, Australia and New Zealand), provides more detailed information and different, despite making Subject to the difficulty of measuring both the size of the pornography industry as of that access. According to him, in 2007, its database had 40,634 adult sites, and this represented 10% of all sites available there. There, about 72.6% of the accesses were made by men. Some other intersections data are interesting, for example, the amounts of pornography access weekdays or even the percentage of Republicans or Democrats that consume. 3 If we fast-forward to the summer of 2007, that same search term ("fri") drove traffic to online video sites ( www.metaface.com and video.google.com ) , the social encyclopedia ( www.wikipedia.org ) and social network MySpace, Indicating That consumption of online adult content has moved from the world of static display of images and video to the world of Web 2.0, where consumer-generated media and social networks now play a key role. [my translation] . 4 The term Web 2.0 was created in the 2000s by an American company called O'Reilly Media and came to appoint a second generation of Internet communities and programs. In general, the term Web 1.0 refers ponto.com calls, and there is a group of people who make websites, software, applications, and a large mass of consumers. The inflection contained in the concept of Web 2.0 is the possibility of expanding the idea of production, each user becomes a potential producer and consumer. The Web is now seen as a platform and enables the emergence of wikis (wikipedia example is), the development of various social networks and "folksonomy" (or process of using bookmarks - tags - as a way of indexing information). Among the core principles of Web 2.0 is collaboration; confusion of

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boundaries between production and consumption, the possibility of extending the concepts of communities and online interaction to encompass several tools that generate social networks and social media also calls; review of the issue of copyright, with the emergence of alternatives such as the Creative Commons licenses, use of open platforms (API). Another idea of web 2.0 which is now widely used by people for pornography are the media and social networks. It was also through them that I began the search field, and the first contacts with the people who produce altporn in Brazil is given through a social media tool. 5 I note that the name of the sites, and the producer of my research collaborators have been modified in order to avoid exposure. 6 As I stated in my dissertation (Parreiras, 2008), delivery of a theoretical and methodological perspective that tries to escape the applicants polarizations established between on and offline . As pointed Miller and Slater (2004), a good solution is to think of contexts in order to avoid relapse into pre-formed concepts like virtuality, cyberspace and also think about online and offline as a self-contained unit or gifted. In doing so, it becomes possible to go beyond the division between online and offline and think that these poles exist, they are defined quota. 7 Experiences of cyberporn today might entail the renting or purchasing of a DVD, downloading a game online, logging onto the site cam.whore, Engaging in oneshot-only pay for play, visiting any number of Web sites offering any number of sexual concerts or orientations, or Integrating Virtual fri through the bodies of avatars into the daily life of 'massively multi-player online' games such as Second Life. [my translation] 8 The Suicide Girls was established in 2001 with the purpose of being a community "to celebrate the beauty alternative" and outside the standards referenced in such fashion. The site has a large collection of photos of women who follow the same aesthetic: tattooed, pierced, dyed hair, costumes and poses pin-ups, Gothic or indie. 9 The rapid growth of new forms of online pornography and the taste cultures grow up around Them That are blurring the boundaries between porn and other aesthetics, between commercial and non-commercial forms of fri, between consumption and community, and between the representation and fri selfpresentation, recreation and relation. It poses new questions about what we mean by commercial fri and how we might Develop its study . [My translation] 10 Alternative pornographies (ie netporn) have, from kink sites to subcultural pornographies, fed back to the imageries of commercial pornography (porn on the net) Apparently That They subvert. If pornographies Appropriate independent poses and elements from the so-called mainstream while Abandoning or Disregarding others, this is Also the case vice versa . [My translation] 11 Although none of these free sites being hosted on Brazilian domain, are widely used by internet users in Brazil. At the beginning of the research, this seemed to be the best alternative because they are platforms for free and easy access. However, I chose to focus not focus on them. They are present as subtext, since they are an effective channel for reaching amateur videos and also allow me to understand what they are and how they are being employed in the many online classification categories of pornographic representations. 12 Rufus is a partner at XXP. All productions have its share ideas and most screenplays is of his own. Is he also manages the financial part of the producer, the

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apartment lends to some recordings, acts as chauffeur for actresses and other partners (the only one who directs) and who performs all contacts partnership. Moreover, it's a geek (technology addict) assumed and cares for all profiles XXP the Internet (Twitter, Facebook, Foursquare). 13 Lola is the producer of XXP. Was responsible for my entry into the field, since after we met in an erotic fair in 2010, she facilitated all contacts with Rufus. In production, it is a "do everything" takes care of bureaucracies, as rental locations for filming, preparation of contracts and actresses. I recently went to photograph the filming and acting more directly on the recordings. 14 Buttman is a producer of pornography mainstream , founded by John Stagliano and made famous by movies gonzo (one person directs, acts and operates the cameras and no cuts or edits). 15 For further reflections on the use of fri toys, see Gregori (2010) and Preciado (2002). 16 Play BDSM real, beautiful women submissive, slave, female domination, submissive males violated by beautiful dominatrizes, urine hot wet pussy, slave training, playground anal. 17 GP Guide is a website where you can find prostitutes and their evaluations based on notes from users who have already hired their services. 18 If we plot a more sociological profile of these persons, taking into account the intersection between social markers of difference, these are white people, aged 20 to 40 years, middle-class, with a bachelor's degree or being complete with erotic works off the market and given a cultural capital that allows access to new technologies and alternative scene paulistana own. 19 As in Twitcam increased censorship and intolerance with profiles where there is pornography, now they use Twitcast. Both have a run similar and quite simple: there is a camera that transmits to a page associated with a Twitter account. Anyone can access it and also post comments in real time. 20 She takes care of the production part and the bureaucracies of XXP. 21 The room is very small and appears to be just outside an office. In the days of filming, she undergoes a maid and they create some scenery for the films, but all quite simple and done by themselves. In one of the recordings I attended, the background was a wallpaper with several horses with a dildo on his head (by far seemed unicorns). 22 All content on this site can also be found in XXP, but it serves as a director and as a traffic aggregator of more targeted information for lovers of fetish porn. Center for Gender Studies - Pagu / Unicamp State University of Campinas University City "Zeferino Vaz" 13083-970 Campinas - SP Tel: (55 19) 3521 1703 Fax: (55 19) 3521 1704 pagu@unicamp.br

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