I don’t care if the sun don’t shine

I fucking love working at  Priscilla, Queen of the Desert – The Musical. I realised this the other night when I was sitting up the front, indulging in the fact that I was watching all these beautiful-bodied men wearing makeup. Especially Daniel Scott as Adam (or even Felicia!). So. Damn. Attractive.

Someone said the other day that they didn’t think any school groups would be going to see Priscilla. I thought- why not? I have loved this film since I was eight, and found Guy Pearce very attractive, it’s very much something for kids too.

Talking to friends about it last night, Elanna said that because there was too much sex and sexual issues in it for adults to approve of it for children, schools probably wouldn’t be taken to see it because then teachers would have to accept responsibility etc. But then I thought, verbatim, ‘Even though it is about sex, it reinforces heterosexual values in the end with a monogomous union between a man and a woman (even though, shit, she’s actually a transsexual, maybe that doesn’t work).

And then I thought, what a fucking wank that I thought that about eight year olds going to see a show. As if they would recognise any of that.

Point is, it’s still quite a bit of fun. Kids should go see it.

The affective MTV aesthetic

The achievement of the beautiful.

Technobodies

I read so much theory and sometimes I just become completely overwhelmed by it. There are some sentences that are just so perfect and so beautifully written that I wish I could have them tattooed to me and could read them forever. Where do I write all these amazing things?

Some, I can write here:

Postmodern nostalgia of spaces: ‘the impossible nostalgia of postmodern attempts to retrieve fullness of being by retrospective memory…the nostalgia for a moment that points forward to an event that never happened.’ (Vidler, The Architectural Uncanny)

And:

The cyborg is resolutely committed to partiality, irony, intimacy, and perversity. It is oppositional, utopian, and completel without innocence. No longer structured by the polarity of public and private, the cyborg defined a technological polis based parly on a revolution of social relations in the oikos, the household. Nature and culture are reworked; the one can no longer be the resource for appropriation or incorporation by the other’ (Haraway, A Manifesto For Cyborgs)