michael j. morris


Inspirations: queer porn, ecosexuality, etc.

I wanted to take the time to leave the trace of another constellation of ideas that are forming frames for me right now. In the midst of everything else I’m doing, I have also been lucky to find some intense inspirations. One of the most notable is work happening in and around queer porn.

I have written around some of these ideas on the blog for the Laboratory for Independent Scholars (the collaborative research project with Karl Cronin, Christopher Kennedy and myself). You can check out those posts here.

On that blog, I listed lots of the individuals involved with and responsible for queer porn that have quickly become heroes in my life. I don’t want to be redundant, but I do want to leave a trace, so briefly (with hyperlinks, which are anything but brief when blogging), they are:

Jiz Lee (genderqueer porn star, blogger, activist, artist, etc.)

jiz lee

Madison Young (porn star/director, gallerist, educator, etc.)

madison young

Shine Louise Houston (porn director/producer, etc.)

shine louise houston

Courtney Trouble (porn star/director/producer/etc.)

courtney trouble

Syd Blakovich (porn star, artist, activist, etc.)

syd blakovich

Drew DeVeaux (porn star, model, etc.)

drew deveaux, photo by rae threat

Dylan Ryan (porn star, academic, etc.)

dylan ryan

Billy Castro (porn star, etc.)

billy castro

Annie Sprinkle (one of the the original queer porn performers/directors/dreamers; artist, activist, sexecologist)

annie sprinkle

Travis Mathews (filmmaker, activist, artist, etc.)

These people are some of my many heroes.

I wish I could write a whole essay right here about why I think queer porn is a radically progressive force in our world, culture, society, etc. (I’ve dabbled with some of these ideas on the LIS blog), but the short version is that queer porn, among much else, demonstrates and performs bodies and sexualities in a way that substantially disrupts and subverts normalized heterosexist configurations of bodies, identities, sex, sexualities, and gender. By giving representation to bodies and acts that live at or beyond the edges of normativity, queer porn offers legitimacy and recognition of those lives to others who are living them . . . that’s not clear . . . what I mean is that one of the things queer porn does is offers a site of identification for those who live and perform their bodies and sexualities outside of the socially sanctioned and normative. But it also functions as a activism towards a public archive of such lives/bodies/sexualitites that authors our culture beyond the edges of the normative. It leaves a trace of some for all, an archive that subverts the notion that all bodies and people are a particular way (this is most notably a heteronormativity, but I would venture to argue that much of gay sexual practices, identities and representations have configured themselves as imitations and emulations–thus representations and reiterations . . . maybe even simulacra–of heterosexuality, thus constituting a homonormativity that continues to abject some lives/bodies/sexualities and sexual expressions/acts as unlivable; I think the efforts of queer porn disrupt these normativities as well). In this way, queer porn accomplishes in representations of sexual encounters, relationships, pleasures, etc., what I tend to strive for in my dancing life–a practice, experience and perhaps even representation of bodies of vast possibilities, bodies that know and become more rather than less, that form and reform within mobile, fluid edges, never stable and always in transition.

I have some ideas of how my work will begin to dialogue with practices in queer porn. Some of this will be explored in the forthcoming reconstruction of “Sketches of Shame” (discussed in my previous post), although I’m not yet certain how.

I also have become interested in how this work and work by these individuals beyond the scope of “porn” might become topics of my research (alongside arts practices by the Love Art Laboratory, Karl Cronin, and various Butoh artists). One such example is a project with which I have recently become completely enamored called Twincest:

Described on their site:
“twincest was a multimedia collaboration between two lovers, Jiz Lee and Syd Blakovich. They spent 4 years together documenting their interpersonal dynamics and intimacies through sound, movement, video, photography, body fluids, pain, aggression, meat, sex, and love. Founded in 2004, their art and performances not only strengthened their budding relationship, but also provided a playground for the more complex elements that manifests in love’s shadows.”

their manifesto:
“My blood brother/sister,
Bonded by bloodpissshitcumspitpussweat-andassjuice, we share a body/canvas/culture for projections of disjunctured identities. With you, I expose and archive the physicalities of the sorid, you are my twin conjoined through the technological extentions of the body, a desire for the same…
bleedng
wrpt in soild shts
fckd dry
Anx us
and dstrctd”

Traces of their work.

Syd Blakovich says on her website (which is distinct from the twincest project that she conducted in collaboration with jiz lee from 2004-2009): “My interest in movement based performance is similar to my interest in body fluids. It’s a dialog between bodies and the spaces they occupy.”
Which is completely ecosexual, as far as I’ve theorized it.

I want to write about this work. I need to study it more. I need to be in contact with Jiz Lee and Syd Blakovich at some point. I need to draw together supporting theoretical materials needed to discuss this work. I already think Bataille’s Erotism, Death & Sensuality has a lot to offer. I think Catriona Sandilands “Eco Homo” article has a lot to offer.

I’m thinking about flesh and fluids, permeability and that which permeates, transmission and that which is transmitted (this has to do with performance, performativity, writing, choreography, etc., in the metaphorical sense), but also the levels of the body which we (in dance, in society) don’t address. I remember reading Bonnie Bainbridge Cohen’s writings about Body-Mind Centering, and those writings referring to movement on a level of fluids and tissues and bones. I didn’t find it to be very precise, although I have heard from colleagues who are more familiar with that work that those who understand it intimately, it is incredibly precise.

As I talk about fluid bodies, how can I not talk about body fluids? The morphability/malleability/instability of bodies is at the skin, in the seeping and sloshing and squirting, the sweating, the threat of leakage, the “necessity of management” (or of an aesthetics of flesh, re: Sandilands) in an age of latex. As I write about sexual epistemologies (see the paper posted in previous post), how do I not discuss latex and liquids, the edge between safety and danger that is inseparable from how we must know/understand sex in this era, and how does that affect how we live/understand the world, bodies, identities, dancing, etc.?

And what does a dissertation begin to look like if these are (potential) figures to be considered: the Love Art Laboratory (Annie M. Sprinkle and Elizabeth M. Stephens), Karl Cronin and the Somatic Natural History Archive, twincest (Jiz Lee and Syd Blakovich), and Butoh artists such as Kazuo Ohno, Tatsumi Hijikata, and Yoko Ashikawa?

I’m not sure where any of these ideas/inspirations are going, but I knew I wanted to begin to leave their traces here.
I’ll keep you informed as to how they develop.

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[…] an analysis of queer bodies and queer sex in a survey of queer pornography. This is building from earlier ideas about pornography as non-sanctioned sex education and an archive of human sexual behavior (there is […]

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