Maiden Voyages: March 2016

(Last Updated On May 15, 2022)

Comments Guidelines: Of late, Pigtails has rejected a number of comments that do not fit the tone of this site and so this is an opportune time to clarify our editorial standards. First and foremost, the ultimate responsibility for the image and reputation of Pigtails in Paint lies with Ron, the Editor-in-Chief.  Therefore every single approval or rejection is a judgment call and cannot be expected to be perfectly consistent—if such a thing is ever possible.  Generally speaking, we try to encourage new voices, but draw the line at superficial comments that do not add substance to a post or provoke thoughtful debate.  It goes without saying that a number of the girls covered on this site are, in some way, alluring and simple testimonials to that effect do not contribute to a respectful and thoughtful attitude about the artists and models involved.  This site is also not a forum for racial or religious bigotry nor is it a venue for “outing” one’s sexual preferences or intimate life.  It is understandable that a wide range of people will be attracted to this site and no one’s contribution will be rejected, on principle, except if they fail to offer something of substance.   Unsophisticated attempts to bait us into associations with illegal behavior or hate mongering will be strongly resisted.  This policy has been necessary to ensure that Pigtails in Paint may continue to serve its noble purpose.  Sincere objections to editorial decisions should be directed to Ron in a private email.

Translation Breakthroughs: I am pleased to announce some progress on finding volunteers to assist in transcribing and translating foreign texts.  Nevertheless, in the interest of consistency and timeliness, it is best to spread out the burden and not to rely too heavily on only a few individuals.  Of particular need are those who can transcribe and/or translate Japanese.  Such work will be instrumental in finally producing posts on Lolicon photographers published in Japan (Shizuki Obuchi, Yoji Ishikawa, Hiromi Saimon et al).  But translators are still needed for many other languages in which material relevant to this site may have been published.

Pushing Back (Ovenden): On May 19–20, a hearing will be held regarding Graham Ovenden’s appeal to reconsider the disposition of materials slated for destruction by the British courts.  It should be understood that this appeal is not merely about saving artifacts of historical and artistic significance, but an indictment of police behavior—and to a lesser extent, the courts—in their overzealous attempts to make an example of this artist and antiquarian to the public.  A political reality that persecuted artists seem to neglect is that wrongful prosecution needs to be fought and resisted—even at great cost—or authorities will get the mistaken impression that their methods are acceptable and have served the greater good of society.  Ovenden is demonstrating leadership by his actions.

Self-Taught Dubstepper: One of our readers shared this item about 12-year-old Adilyn Malcolm who taught herself the dance by watching and rewatching videos.

5 thoughts on “Maiden Voyages: March 2016

  1. I found the site which defends the work of Ovenden but I didn’t find a defense of his work from the perspective I have. Ovenden’s work reflects the spirit of the time he was working in, it is an error for the court and press to dismiss his paintings as just the work of a pedophile. For example, covers of albums by Led Zeppilin and Yes featured images of nude children in art in a similar style to Ovenden’s. The “flower child” was a symbol of freedom for the counter culture of the 1960’s.
    A friend of mine who lived in San Francisco back in the day, recommended to me The Making of a Counter Culture by Theodore Roszak, I think it’s one of the most important book’s I read, it really puts the conflicts in culture in perspective. The youth of the 1960’s were reacting to the development of technocracy, which Roszak defines as a “society in which those who govern justify themselves by appeal to technical experts who, in turn, justify themselves by appeal to scientific forms of knowledge”. In the last chapter Roszak quotes William Blake who was an influence on Ovenden, makes the point that “we confidently discount and denature the visionary experience, and the technocratic order of life rolls on undeterred, obedient to the scientific reality principle. From such militant rationality the technocracy must permit no appeal”. Because Ovenden’s art is a vision which falls outside of technocratic order of life he is labeled by the experts as a “pedophile”.
    I haven’t found any recent developments on the Ovenden case, I wonder how the appeal is going.

    • Thank you for this lead. It should be kept in mind that the deference to science can only have happened once science has established itself as a legitimate authority. This necessitated the various witch hunts against practitioners of counter culture throughout history, often with disasterous results.
      There is no more to report on the Ovenden case. He had his last appeal and some materials were ordered destroyed. Fortunately, in the long term, the destruction was not complete since the images themselves have been recorded and kept safe in various archives. Hopefully, there will be a day when this “age of darkness” has passed that they will be appreciated again for their aesthetic or sociological value. There seemed to be no rhyme or reason to which images were destroyed or preserved. Ovenden likes to call these people (and most of the general public) “visually illiterate”. He is still painting and has had many things returned to him. The specifics will be shared as appropriate in upcoming posts. On a more amusing note, the Metro Police had to be careful not to request certain items be deemed indecent because they or their copies were owned by members of the royal family and making such a claim would constitute a serious offence!

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