“The erotic has often been misnamed by men and used against women. It has been made into the confused, the trivial, the psychotic, the plasticized sensation. For this reason, we have often turned away from the exploration and consideration of the erotic as a source of power and information, confusing it with its opposite, the pornographic. But pornography is a direct denial of the power of the erotic, for it represents the suppression of true feeling. Pornography emphasizes sensation without feeling.The erotic is a measure between the beginnings of our sense of self and the chaos of our strongest feelings. It is an internal sense of satisfaction to which, once we have experienced it, we know we can aspire.”

“The erotic is a measure between the beginnings of our sense of self and the chaos of our strongest feelings. ”

“. . . [O]nce we begin to feel deeply all the aspects of our lives, we begin to demand from ourselves and from our life-pursuits that they feel in accordance with that joy which we know ourselves to be capable of. Our erotic knowledge empowers us, becomes a lens through which we scrutinize all aspects of our existence, forcing us to evaluate those aspects honestly in terms of their relative meaning within our lives.""The erotic is a resource within each of us that lies in a deeply female and spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feeling.""Of course, women so empowered are dangerous. So we are taught to separate the erotic from most vital areas of our lives other than sex.”

“Another unary photograph is the pornographic photograph (I am not saying the erotic photograph: the erotic is a pornographic that has been disturbed, fissured). Nothing more homogeneous than a pornographic photograph. It is always a naive photograph, without intention and without calculation. Like a shop window which shows only one illuminated piece of jewelry, it is completely constituted by the presentation of only one thing: sex: no secondary, untimely object ever manages to half conceal, delay, or distract... A proof a contrario: Mapplethorpe shifts his close-ups of genitalia from the pornographic to the erotic by photographing the fabric of underwear at very close range: the photograph is no longer unary, since I am interested in the texture of the material. The presence (the dynamics) of this blind field is, I believe, what distinguishes the erotic photograph from the pornographic photograph. Pornography ordinarily represents the sexual organs, making them into a motionless object (a fetish), flattered like an idol that does not leave its niche; for me, there is no punctum in the pornographic image; at most it amuses me (and even then, boredom follows quickly). The erotic photograph, on the contrary (and this is its very condition), does not make the sexual organs into a central object; it may very well not show them at all; it takes the spectator outside its frame, and it is there that I animate this photograph and that it animates me.”

“The erotic state – again, a mixture of concentration and spontaneity – is a hypnoidal state, probably the most powerful kind that we are capable of experiencing, and it is in this condition that unexpected regions of the self are revealed, as the majority of people know from experience.”

“Question (The Great Problematic): Will the ultimate liberation of the erotic from its dialectical relationship with Christianity result in(a) The freeing of the erotic spirit so that man- and womankind will make love and not war?or (b) The trivialization of the erotic by its demotion to yet another technique and need-satisfaction of the organism, toward the end that the demoniac spirit of the autonomous self, disappointed in all other sectors of life and in ordinary intercourse with others, is now disappointed even in the erotic, its last and best hope, and so erupts in violence--and in that very violence which is commensurate with the orgastic violence in the best days of the old erotic age--i.e., war?”