My Immoral Mom Immortalized

{Author's note: You can get drunk on moonshine faster than with a fine wine, but the appreciation of the what's in the bottle - poured into a delicate crystal goblet and sipped, beats guzzling out of a mason jar; if you don't understand that distinction, this narrative is not for you.}

The following is a transcript from: More ScandaLess News On-Line Video Magazine

Interview with famous and infamous artist Seqz'tus Empriapal by Jack Ribaldson

Copyright MSLNM Productions 2015

[Video tape begins, Seqz'tus Empriapal is already talking]

. .ere's your drink, Jack. Listen I know what you want. You want the real story behind my most famous work and to know if the rumors are true that it's me and my mom fucking. Well that's the real deal. But I get to tell the story in my own way, just like I do my art in my own way. I know you will edit, to fit your time slot, but if you want the dirt, and let's face it: that's what your stock in trade is; you will still have to have my words to fill in the scandal.

Jack Ribaldson: Okay, Seqz'tus, but I certainly will have some questions along the way.

Seqz'tus Empriapal: Of course, but try not to interrupt too much. We can always handle those later; you can drop them in with your editing.

JR: Fair enough. But let me start with a few basic ones for our interview. Your mother didn't stick you with that moniker at birth, did she?

SE: No, I was originally christened Ryan James Mallory, but I changed my name to reflect the art I wanted to create.

JR: Well, the first certainly sounds like what you do . ."

SE: (interrupting) My artistic name was created just like I create my art. It is pronounced, 'Sexed us Em-pry-uh-pal' spelled S E Q Z apostrophe T U S, E M P R I A P A L. The first name evokes the word sex, but is spelled with a Q which represents the first letter of the formal type of my genre. Sextus is Latin for six, the six sides of my art cubes. Also there was an ancient philosopher called Sextus Empiricus. But I changed that to Empriapal, an Emprise is an adventure or enterprise. Priapal has to do with the penis, as in priapism, the condition of being forever erect, a medical term invented even before some guys took too many Viagra. (both men chuckle) But since the animation of my sculptures are looped, that concept is also referenced in the second part of my name.

JR: You mentioned that the letter Q as the first letter of your type of art . .?

SE: That's right, formally it is termed Quadra-Erotic Depictions. I know the more popular name for what I do is 'four-nography', a play on pornography and fornication, with photography and phonograph for good measure, sometimes spelled with the number 4, as in 4-nography.

JR: The first three terms are clear enough in the word play, you work depicts sex acts, which are taken from images of living people while they are doing intimate things, but phonograph?

SE: Because of the cyclical or repetitive animation, things 'cum' round and round, again and again. The four dimensions, height, width, length and the fourth dimension, time; is the fourth [quad] element which makes the cube-loops of the erotic depictions of humans having sex, or making love I should say really.

JR: Okay. I doubt that many of our viewers have not at least heard about your work, while few might get to see your works at a showing or museum exhibit, the rest of us can ogle the ones which have been released to public domain and posted on the Internet. The number of hits initially crashed some of the porn site that first offered your works. But just in case there is some person who has just woken up out of a six year coma. Could you provide a brief description of what Quadra-Erotic Depictions are, and how you create them?

IN THE HOME of Fran Mallory, her son was working in his basement lab of computers and cameras, and equipment pieces, most of which she had no idea what they were for. Her son was not a genius, just very smart and hard working. Fortunately he had a day job as a programmer; since she and her husband had divorced many years ago finances were always tight. She worked as a secretary, but always wanted to be a movie star. Money was nice; but what Fran really craved was being famous. Of course, she also had a strong sex drive too, and what she would settle for, right at the moment, was a good fuck. No luck. The only guy around was her son.

Ryan knew his mom wanted to be famous, and thought that if she had somehow been discovered twenty years earlier, she might have become a Hollywood starlet, or married someone of notoriety and achieved celebrity that way. She still was very youthful looking in her figure and features, but the time when her opportunities for those kinds of laurels had passed. Nor was their small Indiana town the place where persons of fame were found by passing film talent scouts. For himself, well, he had some ideas for an interesting use of some of the modern technology that was cutting edge, but while he was sure it would be innovative, he did not have the resources for the BIG concept he was working on.

He imagined becoming a world-renown scientist or researcher, but what he really wanted to be was a celebrated artist. He daydreamed that his success would make his mother proud. But not just pride in her son, but perhaps a sense of gratitude, combined with a feeling that by clinging to him she might gleam some of the acclaim that he had acquired. If that acclaim clung to her as well, as his loyal parent who had supported him and believed in him, then she might have a moment in the spotlight too. Perhaps then she might be so enamored of his public adoration that she would fall under the same thrall of hero worship. Thus she might succumb to his advances, allow him liberties which a son should not take with his mother.

In his mind's eye not only did he take those liberties, but he was libertine enough to take her as well. She willingly gave herself to his sexual advances and desired to be his secret lover, not just the mistress of the household, but the mistress of the internationally known and honored . . . "RYAN! DINNER'S ON!" His mom's words interrupted his ruminations. He bounded up the stairs, not caring if she saw the long erection tenting his trousers. He wanted to get her thinking about him in an erotic way, even if they remained just two plain folk from the boondocks, they might still have some fun together. He could be creative in bed too!

[Tape paused while water glasses are refilled]

SE: (resuming) Let me provide some context to the subject of the three dimensional holographic sculptures I create, of couples copulating. Remember we have seen museum displays of anatomy in the most intimate details, including a real pregnant woman preserved, with a cut-away to view the fetus in Gunther von Hagen's "World Body". While sex on film is nothing new, the imaging techniques for medical purposes have become more advanced and sophisticated, and these have been applied to sexual intercourse in studies, and are available on the web. They even have been broadcast on cable-television shows for a science series at one point.

SE: (continues) What I have done is take the results of several imaging techniques, MRIs which are very detailed, more than I needed, ultrasound and x-rays of course and several others, combined these in a computer matrix so that there was one unified image of two people. I used real persons and each piece of art is that couple, amalgamated to the holographic representations of their bodies.

JR: So it is like looking at an . . not actually an outline, but a three dimensional representation of their body. And they are having sex.

SE: Yes. Rather, call it making love, and I use that term for good reason.

JR: Why depict sex or making love as you put it?

SE: Well you could have the same process applied to viewing car engines, as some animations have done well in providing that sort of prospective. Or see a bird hop in and out its bird house, like a hidden camera, or people French kissing. But having them make love, not just sex, is fascinating to everyone, though of course the viewing is supposed to be limited to persons of legal age, which I might point out varies internationally.

JR: That is part of the controversy that plagues your work and anywhere it is exhibited.

SE: Listen, kids see dogs doing it in the yard now and then. They live in our modern world and know what sex is from an early age, because they notice there is a difference between boys and girls early on. But they don't get interested in making love until the hormones kick in. Primitive cultures, where there is scanty clothing and a different set of moral sensibilities have the same conditions as far as the difference between 'sex' and 'love making'. My art is dealing with love making, because sex is more mechanical and love making is an art. That is why there are so many elements added to the holographic 3-D depictions I produce.

FRAN MALLORY HOPED that the grant which her son had gotten for his multi-imaging project would lead him to bigger and grander things than the Podunk town they lived in, the drab dwelling they inhabited. She wanted better for him than what she could provide. A small bit of luck and lots of sweat and clever thinking had gotten Ryan the money to pursue his dreams. The applications were many and the potential for doing valuable research, which could make breakthroughs and discoveries, important contributions to both science and manufacturing, were exciting. But the thing which seemed to turn her son on the most was what he might do creatively with the images in his computer and with the lasers.

Ryan knew that the way to get the chance for what he really wanted to do, was to make the techniques which he utilized pay off, learn lucrative applications from the very expensive equipment that was loaned to him, find with the time spent on the fabulous machines at various facilities fruitful knowledge - simply put, learn with all those costly things useful ways to make money. Show commercial applications, do new work that got the medical establishment interested and supportive. The most excited and supportive person of all was his mom. Not just because she would shine by reflecting his glory, thus herself in a way becoming a luminary; but because she really did love him and wanted him to succeed at his dreams, as she had never been given any opportunity to do for herself. But he wanted all that so that not only could he lift them above this common mundane life, but give his mom the inner glow again she had had in her youth.

Not that she didn't have a warmth and charm and vivaciousness that were so alluring, to even her son; she most certainly did. But if he was able to spark that bright arc once more, perhaps then the electricity which was generated might gap the generations and zap across to connect them in a circuit of sexual desire, a current of erotic passion that would unite them in a powerful coupling. He knew that his mom was what you would call a 'live wire' when it came to the bedroom, having heard her with the occasional casual acquaintance with "benefits". He hated those rare one night stands she accepted to just get fucked now and then. He would be happy to take the responsibility on himself, if she let him. But he knew that there would be resistance, just like with an electronic component.

What he needed was a capacitor to build the voltage and - well he didn't know that much about physics, maybe that was the wrong way to put it. In any case, he wanted to 'socket' to his mom, put his plug in her outlet, hook up and become a dynamo by doing it together. He knew he could take the images from the different forms of waves; electromagnetic - sound - particle - whatever had been invented to peer into the workings of people and things; blend the gathered information into graphic displays that would provide new information that was not previously known. Like taking two polarized pieces of glass and turning them so that the view was suddenly clear not opaque. By cross referencing the multiple layers of the images within a matrix which the computer created, that was how he would make his mark.

What he didn't know was how to set up the mattress matrix that would match his mater and himself so that they might mix it up and made love. Perhaps his success at his project would hold the means to that goal. After all, who could have guessed he would have gotten this far? Nor could anyone project what his secret ideas were, nor the advances he was making in his specialized field that he was doing in private. Not to be figuring out new science, or medical cures, or improvements for factories; but fantastical art of the most fascinating subject matter, fortification. But not just sex, there was plenty of that, too much of just sex. No he had other and much more majestic concepts to incorporate in his ultimate and intimate manifestations of mating.

[Tape resumes after make-up repairs are done for Jack]

JR: (looking down and consulting notes) Tell us what those elements are, that make your creations more than just the holographic 3-D equivalent of the fucking loops we see as ads on every porno site on the Internet?

SE: Not time for incest questions yet? Keeping the smut for the last? Isn't that what the carnies, the folks who worked carnival acts, call the blow-off? Isn't the incest element really what you came to confirm and to raise your ratings, just like the cheap rag newspapers at the grocery stores? Never mind, that's a rhetorical question and we will get to the lurid details in due time. I'm just having fun with you. To answer your question about what raises my projects above the loops on the web. First they are interactive. The original holographic boxes had six sides so that the image of the pair of people I used as my models could be turned in any way, on any axis, view from any of the six sides in other words.

SE: (continues) Nowadays it can be done from the computer controls and then viewed on a screen. The two-dimensional screen seems to display a three-dimensional image, which can be rotated to be viewed from any angle. By the way, CAD (computer assisted design) programing was useful in converting the holograms. That is what the publicly released works are. Computer sims. But with the computer, just like with the boxes in museums and with private collectors - which by the way are now worth not less than a million for any of them.

JR: One went to the Japanese National Museum of Science and Culture for twenty-three million yen last month.

SE: Good. You do your home work. Yes, that was the famous "Sexual Enterprise of the Perpetual Erection" an early one, but which had all of the essential elements that are now standard with any of my creations. Each is unique, with different people, different elements.

JR: Getting back to those elements . .

SE: which are interactive. You can change the flesh tones of the individuals, make her pink and him blue, or a variety of natural skin pigmentation. The transparency may be adjusted; her all but clear, him solid, both ghostly or anything in between. The musical background is variable, though not the original score which was composed for the specific work. However, you can vary the style of music and the volume and so forth. The sound of the couple as they are in the throes of ecstasy can be added or eliminated, volume up or softer; etc.

SE: (continues) The tempo of the loop is variable, all these things controlled by the viewer or several viewers even. It's interesting to see two or three folks around a box and watch how each fiddles with the controls and the whole experience sort of engulfs them in a unified sharing of emotions and feedback with each other, not unlike that of sexual copulation itself in some ways. And this can be done with file sharing in real-time over the web as well. There might be endless things that could be variables to put with each art piece, on every work I create. I haven't run out of ideas.

JR: But there are a limited number of positions the partners in your products are capable of, right?

SE: While the art is in the showing, this isn't an artificial geometry, it is always real people doing the real thing as the basis for the original depiction, or as I called it in one of my collection of works, 3 D - D E P I X I O N Z of Our Sacred Act.

JR: Where do you find the people willing to be your models, for such raw eroticism? Do you have standards?

SE: I think that attractive people make for attractive art, but beauty of course is subjective, so my subjects are what I find sexy. Like my mother: she was real, and I found her real sexy too!

THE MALLORY HOUSEHOLD had never been a strict environment, and while morals were not loose, neither were they constrictive. In fact, Fran believed that free thinking was more constructive, and narrow-mindedness was likely to be destructive of the creative spirit she wish to instill in her son, when she was raising Ryan. Thus perhaps what eventually happened was not out of character for neither son; nor his mother, who had mixed emotions when it came to the attraction she knew her son had for her. She could tell, as the youth grew to maturity, when he looked at her, that as he got older he lusted for her all the more. He was mouthwatering as well, she had to admit. But she never would have acted on any desires earlier.

However, now that he was in his late-twenties and with a career that was obviously going to carry him far, the question of their mutual physical admiration was not on her mind. It was rather, how far, and in which direction, and what could she do, to support him - and maybe ride the coat-tails of her son's fame to something of her own apogee. She had always had a little dream that when she died, there would be a small paragraph in Time magazine noting her passing, some reason she would be remembered beyond the small circle of family and friends in the rural town. Some deed or act of noteworthiness, that gave her a glory in this world, even if she had passed to the next.

Ryan was as aware of this aspect of his mother, as he was of the softness of her breasts when they hugged, or the thrill of lips on lips her kisses gave him when she permitted such, instead of the cheek-peck she so oft made or expected when turning her head. Just as Fran was conscious of her son's boner pressed to her abdomen. She felt it was a compliment, even if she was also amused by it. She knew those type of hugs and kisses were more physically close and a mite more stimulating that a normal maternal embrace and smooch would generally be. She allowed them, nonetheless. She understood that he had his foibles, as she had her fantasies; but that didn't mean she was going to allow any fooling around. Nor did she really ever believe that she might possibly be memorialized beyond the community they lived in.

Then came the start of the controversy and the opening booms of notoriety: the boon of publicity and the bang of opportunity pounding on the front door. Ryan's first set of art works, using the very expensive and publicly funded (government grant) equipment, and time on the machines, monies and hours which were supposed to be for serious purposes, not pornography! NOT for seeing people fucking in 3D. Not for showing to any and all adults who could pay for a ticket to the gallery. But they sold privately. OH! How they SOLD!! The Mallorys moved to Chicago, then to L.A. Ryan changed his name to further create the image of the Avant Guarde artiste.

And yet Fran was still in the background. Not hidden, but out of sight, since no one was looking in her direction. Then one day, there was no knock on the front door of his studio. His models - the couple who were to star in a new series - failed to show up. This next set of works took the concept to a new level; with elements of music and interactive control, the whole of the genre brought to full flower; and there sat this expensive equipment, rented and sitting idle. You think that a movie crew is expensive to have them waiting hours for the hung-over star to arrive, or weather to clear or whatever was the delay, so that filming might roll? This was way worse, because the temperamental artist who was the paying the bill himself was frustrated. FRUSTRATED in capital letters.