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These examples of amateur gay porn, usually circulated via porn aggregators such as Xtube, constitute what might be described as video collages that repurpose a range of found sources including commercial moving-image gay porn, still images, text and music. In this article I explore the contemporary amateur practice of making ‘popper training’ videos. In doing so, this article provides a different account to pathologizing media and medical representations of chemsex that appeared in 2015, whilst also contributing to a growing literature that attempts to map the balance of forces of the present conjuncture. Common ground: democracy and collectivity in an Age of individualism. Drawing on a document analysis as well as interviews with 15 gay and bisexual men, this article argues that the rise of chemsex can be interpreted as an embodied response to material conditions shaped by neoliberalism: specifically as a desire for an intimate mode of collectivity during a historical moment when collectivity itself is being superseded by competitive individualism as the privileged mode of being in the world (Gilbert, J.
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This article uses a conjunctural perspective to make sense of the rise of chemsex within the historical conditions in which it has emerged.
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The term chemsex refers to group sexual encounters between gay and bisexual men in which the recreational drugs GHB/GBL, mephedrone and crystallized methamphetamine are consumed. Since 2011, various public health organizations have observed the growth of the sexual practice ‘chemsex’ in the UK, primarily in London.
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This case study of Helix Studios performers’ tweets reveals both precarities and potentials of networked intimacy in gay porn. Networked intimacy, as a common condition for gay porn production and consumption in a hybrid media system, develops into a multilayer shape on social media platforms. Under this aesthetics of authenticity, intimacy is commodified to sell sex, and sexuality is essentialized into a staged congruity between sexual acts and desires.
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Relational labour is dedicated to the authentication of performers’ professional persona through their private life. The networked intimacy pivots on the fantasy of the twink body, the romantic and sexual bonds among performers, and the fandom-facilitated interactions. It is found that a networked intimacy is constructed through performers’ Twitter self-presentation. This study provides a qualitative analysis of the Twitter feeds of performers affiliated with Helix Studios, a gay porn producer specializing in the twink genre. As social media afford more interactivity and flexibility for pornographic relationship-building, gay porn performers start to have an active presence on platforms like Twitter to not only promote their works, but also showcase what is ‘behind the scene’. The performer–viewer relationship premised on mediated intimacy is a pivotal element of porn. The article attempts to map some of the political implications of the ‘pornification’ of gay culture to ongoing debates about materiality, labour and the entrepreneurial subject by analyzing gay porn blogs. Does gay porn still have the same urgency in this context? At the level of politics and cultural dissent, what is ‘gay’ about gay porn now? This article questions the extent to which processes of legal and social liberalization, and the emergence of networked and digital cultures, have foreclosed or expanded the apparently liberationary opportunities of gay porn. However, neoliberal cultures have transformed the operation and meaning of sexuality, installing new standards of performativity and display, and new responsibilities attached to a ‘democratization’ that offers women and men apparently expanded terms for articulating both their gender and their sexuality. Thirty years of scholarship on gay porn have produced one striking consensus, which is that gay cultures are especially ‘pornified’: porn has arguably offered gay men not only homoerotic visibility, but a heritage culture and a radical aesthetic.