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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Sketches of Shame; queer porn

Different new projects/potential projects in the works.

This week I start rehearsals with Daniel Holt. I am restaging/recreating Sketches of Shame, a piece I made with Clara Underwood in 2007. I already know there are things that are changing. From the “original,” I think I am retaining Clara’s solo, which will be performed by both Daniel and me simultaneously. It is not set to counts, and the timing is not necessarily precise. I’m interested in the fluctuation of drifting in-and-out of unison, how the aligning and misaligning of bodies/actions/pre-determined gestures articulates something about the shame experience as one predicated on the sensation of falling out of line/out of synch with the/a regulatory normality. Here the choreography functions as that regulation, we are both approximations, but there is no absolute measurement; we are each variables being treated as constants in the assessment of the other . . . this seems to me to be central to the production of bodies, genders, sexes, sexualities, etc. It is also my intention that a significant portion of the piece be done watching one another. That might enhance the analogy (observation and the sensation of being observed are central to the shame experience), or it might break the analogy in that watching one another without falling into perfect unison will be difficult. Or maybe not. Perhaps the deviations will become much more subtle, but the remaining disparities are would be more acutely analogous to the slippages of bodies/genders/sexes/sexualities that are attempting to adhere to regulations. Maybe.

There is another section that will be new material, added at the front end of the piece. It’s still very new, and I’m a bit guarded about discussing it. We’ll see how it goes and how much makes it onto the blog.

Another project that occurred to me yesterday that I might consider as a study for my Theorizing Performance course this quarter is 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 a recent wealth of research on pornography as a source of sexual information in adolescent development, and it is at this intersection of development along with developing sexual identities–which might take place beyond adolescent development–that I see pornography as a relevant line of inquiry into the socialization and education of [sexual] bodies), and queer pornography as a radical intervention for expanding the range/scope/possibilities of such an archive (and thus, in effect, the range/scope/possibilities of bodies/identities that are educated and circulated back into culture/society). My interest is in developing a lexicon for the bodies and relationalities demonstrated in this media, particularly in the work of pornographers such as Madison Young (who has specifically addressed fluid sexuality in a series of docu-porns), Shine Louise Houston (crashpad), and Courtney Trouble, among many others. I’m thinking of something like a survey of 20-30 performers in 2-5 films by each director. I don’t know what I’m looking for yet . . . that’s the nature of developing a lexicon, allowing it to be emergent from the data sources considered. Things to consider might be: self-identification (do these performers identify as queer, genderqueer, female, male, trans, etc. etc. etc.); bodily configurations in sex acts (parts of the body involved, how they are involved, etc.); performance of roles within these configurations; inclusion of extra-bodily components (dildos, condoms, gloves, etc.); number of participants; and whatever else comes up. Maybe.

Those are two projects that are in my mind right now. We’ll see where they go.



list of thoughts

This morning my mind was spinning with ideas and questions. I needed to get them down somewhere. I put them here:

What are forms of analysis in dance studies that might function as methodologies for ecological analysis?

Synchronous Objects as an instance of analyzing the internal functionality (choreography?) of a dance(ed) system by way of aggregate data derived from interviews with dancers and choreographer, correlating the accounts to produce a description of the dance’s dependence on the dancers’ interdependence by way of the cueing system.

How else might choreographies demonstrate interdependence (an ecological structure)? And is this a description of the functional interdependence (how it actually works on the inside) only, or does it also include the perceived interdependence, the perceived gestalt of the work (something like the visual composition and the interdependence of formal elements to constitute the overall “effect” or “specular”(?) experience of the piece? In SO, I would classify the analysis of the cueing system as the former (the internal functionality) and the analysis of counterpoint and alignments (particularly those annotated in the project videos) as the latter (compositional devices/effects).
Partnering
. . . the entire spectrum of compositional devices/elements/effects could be analyzed for their interdependent potentials . . . how elements are put together and the effects of those compositions . . .
Props (object theatre)
Symbiotic relationship with the audience
Something about the relationship between the work and external cultural objects (I’m thinking about work that appropriates or cites or quotes other existing work—music, choreography, text, etc.)

Still the ongoing question, how might ecological analysis function as a methodology for choreographic analysis? Further, how might this “ecological analysis” be inflected by ecofeminist and queer ecofeminist critiques, producing a queer eco(feminist)logical analysis of choreographies?

Ecofeminism: correlating mutually reinforcing systems of oppression between feminism and ecological struggles

Queer ecofeminism (which may in fact be the starting point for what I have eventually considered ecosexuality/sexecology): extends the correlation to other master narratives and apparatuses by which “Others” (nature, female, queers, the erotic, etc.) are alienated in order to constitute the normative (the natural, male, heterosexual, logical, etc.); where this seeps into ecosexuality is the point at which all bodies become permeable and inter-penetrable

Can there be a Sexecological analysis of choreography (I believe sexecology, as I have theorized it, is necessarily queer)?

Questions about how different choreographers/dance practices (practitioners)/performance artists have constructed “nature” and their relationship to it. Right now Laban and his “nature cults,” his assertion of the correlation between natural forms and human movement as one potential object for analysis; Butoh suggests itself immediately as another. Karl Cronin, Love Art Lab, etc.



Recent and forthcoming work

Where to begin? My dear friend Mara commented to me the other day how long it has been since I’ve posted things here. Partly, if I’m honest, it’s that I have a difficult time right now spending any more time in front of a computer than I have to. But there’s also something to do with the scope of ideas. I feel like my ideas of too big at the moment, and the bundle of threads knotting them together feels just out of reach. I wrote another term paper this autumn quarter exploring/theorizing ecosexuality, this time drawing correlations between my previous explorations of a theory of ecosexuality, Tantric philosophy, eroticism (as discussed by Georges Bataille), and Butoh. It was a culminating point in one sense, in that I finally articulated how these ideas/lines of inquiry live in and alongside one another in my thinking/understanding. But it was also a big start of something, of finally putting these various paradigms in the context of one another to really see what it is I’m getting at. I don’t know if the paper itself is entirely successful, but I do want to share it here:

pulsing through and between, I am that

I’m not sure what the next steps for these ideas will be. I do know that the next quarter is going to be intense in its creative/research output, and I feel certain that those projects will be related to these ideas.

I am performing my solo “Re-Membering the Mountains” twice more in the months to come: In February, I have submitted this piece to the Annual Battleground States Conference at Bowling Green University. The conference is entitled “Collapsing Cultures and Darkened Dreamscapes: Societies and Imaginations in a State of Disorder,” February 25-26, 2011. I am presenting the piece as part of a panel address the Purple Wedding to the Mountains and performative ecosexuality. I was invited to present on this panel by two colleagues who also performed as part of the Purple Wedding, Erin Paun and Jp Staszel:

Erin and Jp at the Purple Wedding to the Mountains

I  will also be performing that solo as part of OSU’s Winter Concert (details forthcoming).

Another performance project with which I am involved is a solo entitled “Marriage,” originally choreographed and performed by Mair Culbreth in 2005. Mair Culbreth and Nicole Bauguss are having a month-long exhibit at the Urban Arts Space entitled “domestic matters: a performing installation.”

domestic matters: a performing installation

More details for this project will come later (I hope to write a bit about the process from the inside of the choreographic/rehearsal practice). The dates for the show are March 1-31, with performances throughout. Already I find the process fascinating: Mair and I spent time discussing the original context and content of the solo, then together devised a score for the piece based on the original. From this score, I choreographed movement to function within it. We will begin to rehearse/revise/edit/etc. in the new year. I’ll keep you posted.

I am also rehearsing my own reconstruction during the winter quarter, a piece entitled “Sketches of Shame” that I choreographed in 2007 with myself and Clara Underwood. The new version will retain the intention and some vocabulary from the original, reworked and recontextualized in my current situation  and research. You can see the original vocabulary from which I’ll be working here:

I will be working with Daniel Holt, reconstructing this original material, and developing additional material exploring the corporeal situation of shame within a context of sexuality and sexual expression. Again, more details will be forthcoming, but that will hopefully offer a sense of the spectrum of what I’ll be working on.

I have also submitted a paper I wrote last year entitled “The Phenomenal Conflation of Dance/Dancer/Author/Reader/Text/Trio A/and Me” to the 27th Biennial International Council of Kinetography Laban/Labanotation Conference being held at the Institute for Musicology, Budapest, Hungary August 1-6, 2011. I will hopefully find out in January or February if the proposal is accepted.

That is a sampling of work that is both recently completed and forthcoming. I think I might make a separate post sharing some other ideas/inspirations that I am considering right now.



bodies beyond bodies, sex beyond sex

I just posted this on our blog for Laboratory of Independent Scholars. I thought it could live here as well:

These are not wholly cohesive ideas.
But that actually seems appropriate for the line of inquiry.

I am continuing to theorize and work through my understanding of ecosexuality. I find myself really solid in my explication of an ecological consciousness or modality, a blurring the the self/other along trajectories of desire/eroticism, the transgression of borders, boundaries, and taboos, etc.
If you’ve had any time to look at the papers I posted in which I am working of establishing something like a theory of ecosexuality (grounded in and indebted to the Love Art Laboratory), then discussions of porosity and permeability will be familiar. Desire that denotes lack as constitutive of an erotic eco-logic when considered in the conditions of collaborative arts communities.

But again and again I keep finding myself looking for the sex in all of this. I have posited that an ecosexual paradigm employs (queer) sexual epistemologies in the recognition of/engagement with the environment/more-than-human, but here is where I run out of language. I brush against it in the “Fluid Bodies, Liquid Communities” paper when I state: “I argue that in the formulation of an Ecosexual identity and a Sexecology, sex and sexuality function as epistemologies, perhaps even methodologies, for recognizing the conditions of such an identity and ecology. The permeability, the fluidity, the blurring of boundaries during sex—at the edges of flesh, fluids, pleasure, penetration, ejaculation, for example—function as perceptual schemas for an erotic eco-logic, whereby we experience what it means to lose clarity of our individual boundaries and borders at the site of intimate exchange.” It does have something to do with perceptual schemas. It has something to do with the self-annihilating force of pleasure, feeling fluids permeating flesh, tasting “an-other” inside of “your-self,” and losing clarity between “you” and “I.”
But that’s as far as I can get.

Today I am finishing an amazing text called Avatar Bodies: A Tantra for Posthumanism that I hope to use to support my development/mobilization of Tantric philosophy as a critical theory. In delving into Tantra, posthumanism, and deconstructivism, I am again situated within a discussion of bodies far beyond corporeal morphology, selves that are multiple and trembling amongst (infinite?) potentialities. I’ve elsewhere discussed the bigness of bodies, bodies that are flesh and blood and bone, but also regimes of power, sites of political inscription, sites of oppression, resistance, and liberation, bodies that produce knowledge, etc. My new thought today is that if bodies are inclusive of and extended beyond corporeal morphology (the biological systems that we recognize as “the body”), then how might sex be both inclusive of and extended beyond these biological frames? What is the spectrum of sex, sexual acts, sexual roles, sexual modes of knowing? And how might that all take on relevance/extension/application beyond the (bounded, limited, biological) body into the realms of the “big body” (in all its posthuman, poststructural, Tantric, ecosexual contexts) WITHOUT it no longer being sex?
I think it’s an issue of abstraction.
I am trying to find how far sex as an epistemology extends without it becoming only metaphor, only abstract analogy (not that these aren’t modes of epistemology . . . but my interest is in the question of IF bodies are all of these things beyond the reduced biological body, and IF sex is a certain mode of the body, a mode of encounter between bodies, THEN what are the limits of sex?) From that last past it feels as if it might be worth revisiting Butler’s Bodies that Matter: On the Discursive Limits of ‘Sex’ . . .

I am wide open to feedback on this (sexual episteme?). Any insight, perspective, reference, challenge, question, etc. that might help develop this thought further is highly welcome.



Projected Research Trajectory
16 September, 2010, 10:11 pm
Filed under: research | Tags: , , , , , ,

So I’m writing a grant right now, and as part of the grant I was required to author a “statement of purpose” describing my projected research trajectory. While it may be a bit too specific to be considered as a general guiding statement for my research, it does articulate (fairly succinctly) many of the areas of inquiry that I am interested in pursuing. I wanted to share it here as a summation of where things are at right now, and maybe a hint at where things are going next (NOTE: this is not exhaustive; the most notable absence for me is any discussion of Butoh as a significant experiential/corporeal methodology for queer ecologies; there just simply wasn’t the space, and there are several other posts of the blog that touch on this subject):

My primary interests for doctoral research in the field of Dance are the exploration of dance and choreographic practices as functional systems of interdependent corporealities (the constructed realities of the body) and subjectivities (the constructed nexus of perception and action of the individual); and the situation of the body as the site for the constitution (and constant re-constitution) of permeable identity within these systems of interdependency. It is my intention to examine choreographic processes, improvisational methodologies, and dance training, both theoretically and in practice, for their potentials to provide knowledge concerning human and more-than-human ecologies and the construction of corporeal identity that can be utilized both within and beyond the field of dance. Too often dance is relegated to the status of autonomous cultural value—relevant within its own history and discipline, or as a cultural product to be studied—but not considered to be a site for useful knowledge that might be incorporated into other fields of study. It is my intention to explore these concerns in such a way that they might operate in truly interdisciplinary discourses surrounding the body and systems of interdependent organization. I am supporting this research through continued study and creative activity in dance practices—such as choreographic practices in movement generation and group organization, improvisational and “score-based” methodologies, movement analysis and notation, and pedagogical practices in dance; in ecology, as a relevant lens for the analysis of systems of human and more-than-human (referring to other-than-human elements within systems of interdependency) participants; and in queer theories, particularly as they relate to the theorization of identity and the body.

Dance practices—including but not exclusive to choreography—are predicated on an assumption of interdependency between multiple subjectivities. Both the immediate participation of teachers, choreographers, and collaborators within choreographic and performance situations, and the aesthetic and training histories in which those individuals are citationally implicit, have been incorporated into the body and the dance experience of every dancer. In this sense, dance practice always already involves the collaborative construction of individual bodies by way of physical practice, training and the exchange between choreographer and dancer in the choreographic setting, and the collaborative construction of choreographies and dances as objects of intrinsic intersubjectivity. Dances do not reside within a single body or space, but function as systems of interdependency (considerable as ecologies) involving the incorporation of multiple bodies/subjectivities, and often include further interdependency with more-than-human elements, such as scoring and documentation systems across a variety of media, specific spaces (as in site-interactive choreographies), and technology. Of particular interest to me are the more-than-human elements of dance scores in the production of bodies and dances. I consider dance scores such as those written in Labanotation (a system for the analysis and notation of movement based on the work of Rudolf von Laban) and other comparable systems of movement analysis/notation to function as artifacts of transhistorical and intersubjective significance. The score simultaneously describes the movement of historical bodies (descriptions in which the corporeal presence of both the historical dancer(s) and the notator of the score are both necessary and implicit) and provides that information as impetus for the construction of the movement of contemporary bodies, and thus the construction of the contemporary bodies themselves. The score’s full meaning and function only exist between these transhistorical subjectivities, and the dance that the score produces exists only with the participation of this nexus of human and more-than-human elements. While my projected research will include a survey and analysis of a variety of dance practices, ranging from body-to-body methodologies (such as the choreographer transmitting movement directly to the dancer by way of demonostration and instruction) to methodologies incorporating additional more-than-human elements (such as scoring systems or the dissemination of movement material through media and technology), Labanotation, as a significant component of my research profile and expertise in the field of dance, holds for me a particular interest in the investigation of the ecologies of dance practices. The Ohio State University is uniquely qualified to host this kind of research: the Dance Notation Bureau Extension for Education and Research—the only extension of its kind maintained by the Dance Notation Bureau in New York City—is housed within the OSU Department of Dance. The resources for Labanotation research made available through the DNB Extension, including dance scores, research libraries, educational materials and opportunities, and certification programs, are truly unique to this institution, and make OSU the ideal setting for doctoral research involving these lines of inquiry.

In addition to my continued work in Labanotation, it is also my intention to maintain my own choreographic practice as a methodology for this research. Adjacent to my studies in indirect movement generation (the construction of movement in processes that incorporate elements beyond a body-to-body/person-to-person choreographic model, such as Labanotation scores), I consider it important that these studies take place within the setting of the choreographic construction of dance and (coextensively) bodies. The importance of making and doing as useful ways of knowing are uniquely emphasized within the field of dance. It is an assumption of my research that these concerns cannot be fully explored remotely, but that they necessitate an active, embodied exploration through the process of making choreography. Maintaining my creative practice as a choreographer will provide an opportunity for this exploration, a type of research and knowledge generation that is truly unique to my field.

The infrastructure of these inquiries is an appreciation of the body as the permeable and transformable site for the perception, negotiation, construction, and performance of identity. Identity is not a new or unproblematic topic in academic research; it has proven to be a complex nexus of intersecting trajectories of power, politics, and participation within many fields of inquiry. My interest is in the corporeal situation of the complexity of identity. This investigation will draw heavily on the work of queer theorists and my own queer understanding of non-normative, subversive, and fluid identities. The perspective of the body as composed from the collaboration and contributions of multiple sources as intrinsic to dance practice suggests a permeable body, one that maintains ability, definition, and morphology as mobile boundaries characterized by a multiplicity of potentials and possibilities. Queer theories support this perspective by offering a wealth of language, perspective and utility for the maintenance of such permeable borders and mobile definitions. Queer theories also provide methodologies for enacting a necessary critique of and resistance to dance practices that function as systems for regulation and “normalization” of bodies, and as systems of oppression that reiterate sexism, racism, homophobia, and economic inequality through physical education. This critical lens will operate in my analytical engagement with contemporary dance practices, as well as with historical materials such as dance notation scores and conventional writing practices.

A meta-concern of this research is the importance of interdisciplinary inquiry, drawing from relevant adjacent fields of study (such as ecology and queer theory) in my dance research, as well as considering dance as a field of productive knowledge for these adjacent fields and others. My interest is in investigating these topics within practices unique to the field of dance, and offering the knowledge produced by those investigations to other fields addressing these same topics. It is my hope that in doing so I might participate in and further similar endeavors within my discipline to recognize the potential for dance to provide unique and invaluable knowledge within and beyond the field of dance.



Queer Explorer’s Club

On of the many projects that I currently have in the works is a collaborative endeavor with two amazing individuals, Karl Cronin and Christopher Kennedy (who does amazing work like this). We will be working together on a project sponsored by Culture Push (NYC, NY) called The Laboratory for Independent Scholars. As our work together unfolds in the months to come, I am sure that I will be sharing perspectives of it here. However, a great project in which I have already been invited to be a part is the Queer Explorer’s Club. Christopher Kennedy introduced me to this project with the following description:

“Queer Explorers Club is a group of people.
People who are queer identifying.
We are only 4-5 most of the time.
We like to make stuff together. Sometimes we have dinner and read to each other.
Sometimes we knit. Sometimes we cry. Sometimes we play outside and ride bikes.

For our first project we’ve been sharing stories.
About vulnerability and harassment.
In response I developed this screenprint and we’ve been wheatpasting them around Brooklyn and NYC as a gesture to reclaim places of vulnerability – or perhaps where boundaries have been crossed or formed.

So I’d love to send you one. Then you can wheatpaste it where you’d like. Or just have it for another space.”

This week I received my copy of the screenprint. I’ve been reflecting on places I’ve felt vulnerable that might function as an appropriate space to receive such a marker.

From the Queer Explorer’s Club website:
“You’re Just a Fucking Faggot
Where have you felt the most vulnerable with your gender
in public spaces
in private places.
In the exchange of a walk.
In the look of an eye, that turns into a shove.
Language; maybe more.
Please demarcate where and when your vulnerability has been.
And where it may be with geography and technology.

Download Template (PDF)
Instructions:
Please download the template, and mark where in real time
and in real space.
and in virtual space where your vulnerabilities may lie.
a history, or the present; always the future.”

The current list of places that might be appropriate:

14th Ave, Columbus, OH: this is the street from which I just moved. I walked to and from school/work everyday on this street. In the two years that I have lived here in Columbus, I have had things thrown at me (glass bottle, rock) and been shouted at (mainly “faggot”) more times than I care to count. I was mostly harassed by large groups of people in the front yards of apartment buildings, on game days more than any other time (I have a strong conviction that this is one of the many, many examples of how competitive athletic events cultivate the potential for degenerative, destructive, and aggressive social cultures . . . but maybe that’s another blog post). I never directly confronted those who had harassed me because I was always outnumbered, and while I was sober, mostly those harassing were not. I felt vulnerable and endangered.

Wells Hall, Belhaven College (now University), Jackson, Mississippi: This was the dormitory in which I lived during the first two years of my undergraduate experience. My harassment in Jackson was pervasive; I could not possibly mark all of the places and spaces in which I was harassed, felt vulnerable, or compromised. But this was the most persistent. It was an ongoing experience to come home to where I lived and be met by a group of athletes (again, I am not sure this is coincidental; not that all athletes are aggressors or oppressors, but that there does seem to be a common denominator in my experience). I was constantly called “faggot” and pushed on more than one occasion. I was always outnumbered. This was the main reason I eventually moved off campus, because I was no longer content or satisfied with feeling endangered in the place that I lived/my home. If I could journey back to Mississippi to mark that building, I would.

Belhaven was a place of vulnerability for other reasons as well. Because of the college’s [discriminatory] policies, there is generally an intense amount of secrecy surrounding homosexuality on campus. Queer identities are not only unwelcome, but are oppressed. During my sophomore year, there was a “documentary” on “former-homosexuals” (those who had been “cured” of their homosexuality through various religious-based “therapies”) that played on the college’s television station for a month. I was made to watch this documentary in two different settings. It was not unusual for me to be approached by faculty intent on “saving” me from my sexuality. There is a sense in which Belhaven as a whole functioned as a vulnerable/violating space.

More subtle though no less profound spaces might also include:
churches that I formerly attended
facebook
my bedroom
the house in which I grew up
various performance spaces
studio 2 in sullivant hall (where Autumn Quartet was made and practiced)
this blog (blogging for me is almost always a vulnerable experience)
etc.

Putting the print here is one virtual space that I am marking. It will also allow me to mark facebook. Once I have selected a “real” space, I plan on documenting that installation/inscription/marking.

Where are the places you might mark, and why?