michael j. morris


ecosexuality; performing pleasure?
13 January, 2011, 8:44 am
Filed under: creative process, Grad School, research | Tags: ,

I had two amazingly inspiring meetings yesterday, one with my advisor Norah Zuniga Shaw, and the other with artist/collaborator/friend Karl Cronin. Lots of ideas finding echoes and raising questions and organizing thoughts. Focusing on ecosexuality; building a pillar of “what is sex [and how does it construct bodies]” to support my work (likely looking more at Foucault, keeping it grounded in queer theories, maybe bringing in Tantric paradigms of sexuality, using queer porn as an archive/index of queer performance, probably keeping Bataille in the mix, and possibly drawing on work by contemporary sexologists working at the borders of sex–people like Annie Sprinkle and Joesph Kramer, etc.); building a “pillar” out of sex+”nature” (drawing on ecofeminism, queer ecology–which might mean giving myself more of a focused crash course in ‘traditional’ ecology, Donna Haraway as a useful destabilizing force for ideas about “nature, etc.); the application of these frameworks to body-based performance, their relational constructions of “nature” and the human subject (looking at folks like Rudolf von Laban, Anna Halprin, Butoh artists (TBD), Love Art Lab, Karl Cronin, twincest, etc.).
There might be something there . . .

In the mix of all of this is the relational formation of the choreographer/dancer/dance. That might be a separate project entirely. I do think that ecosexuality as a framework might reveal something about this relational production of bodies/dances, so I haven’t let go of it yet . . . it just might be a different project.

There’s this book I want to read by Linda Williams. I skimmed part of it yesterday; a primary discussion in the text is about making “sex speak through the visual confession of bodily pleasure” (Linda Williams Hard Core: power, pleasure, and the frenzy of the visible). As I’m considering what it might be to do an analysis of how queer bodies are performed in queer porn, this gave me something to consider, especially as the queer porn genre (alongside/mixed in with feminist porn) has identified itself considerably by citing the “real” pleasure of its performers.

Rambling thoughts:

performing pleasure as the construction of erogenous corporeal landscape; performances of pleasure as forming bodies; performances of pleasure as a topography of erogenous zones, especially those zones that extend beyond the binary of man/woman and reproductive organs; could performances of pleasure function as a topography of sex/bodies beyond the borders of a heterosexual reproductive economy of signification?

how is pleasure materialized? movement, sound, fluids

fluids as confession; fluid as evidence of pleasure; pleasure as demonstrative of the “truths” of bodies, thus constituting the possibilities of bodies for the spectator [Norah kept mentioning the “wetness” of ecology, and there’s something to that . . . how do ecological systems function differently from other systems (computer networks, etc.)? it might be something in the wetness (which makes me want to look at biotechnologies at some point . . .). there seems to be an echo between fluid as a form of confession, fluid as demonstration of pleasure (which might be a total hegemonic construction, built up around cum shots and female ejaculation . . . and if I want to read bodies beyond biology, read bodies in prosthetics, in silicone and latex, in dildos and condoms and gloves (all as sexual technologies grafted into the sexual body) then does lube function as a fluidic signifier of pleasure? I don’t know yet) and the “wetness” of ecological systems.

fluids. membranes. border crossing. border dissolving. loss of [discontinuous, discrete individual] self in the mingling of fluids . . . or the management of membranes. safe-sex as environmental management, “wilderness preservation”?

Things I want to learn more about:
Beatriz Preciado
dildonics
contrsexuality
trans bodies

[the way I’m writing ideas here feels like it’s getting messier . . .]

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