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It is a form of unbridled quadrille dancing couple in which burst of energy and daring gymnastics changes are as important as the provocative and erotic suggestion.

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2. Sally Hacker, in a paper written just before her death ("TheEye of the Beholder: An Essay on Technology and Eroticism," manuscript,1989), suggested the term "pornotechnics" to refer to the embodimentof perverse power relations in the artifactual body. Hacker insisted thatthe heart of pornotechnics is the military as an institution, with itsdeep roots and wide reach into science, technology, and erotica. "Technicalexhilaration" is profoundly erotic; joining sex and power is the designer~stouch. Technics and erotics are the cross hairs in the focusing devicefor scanning fields of skill and desire. See also Hacker (1989). Drawingfrom Hacker's arguments, I believe that control over technics is the enablingpractice for class, gender, and race supremacy. Realigning the join oftechnics and erotics must be at the heart of anti-racist feminist practice.(cf. Haraway, 1989b; Cohn, 1987).

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Raised in a Bohemian environment, (1879-1968) was encouraged to perform as a youngster. She studied ballroom and skirt dancing at the Maud Davenport school in Somerville, New Jersey, and was drilled in Delsarte poses by her mother. Her first professional job was as a variety act in 1894 at Worth's Family Theatre and Museum in New York. Important early influences were her work with the eminent director David Belasco, eastern spiritualism and imagery, along with European travel. By 1906 with , St. Denis had the essence of her distinctive dance style, which combined spiral form with equal parts voluptuousness, mysticism, and erotica. She built a stunning career as a soloist and, in 1914, acquired a professional and personal partner in Ted Shawn. A year later the two opened Denishawn which, as a school and company, nurtured leaders of the next generation of modern dancers: Martha Graham, Doris Humphrey, and Charles Weidman. As a choreographer, St. Denis created some beautiful visualization group works, but her performance in such solos as , , , , , and, with Shawn, in are most memorable. Her autobiography, , was published in 1939.

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