Queer Theory & Futurism

[alice wellintown]

Note:

Marshall McLuhan's The Mechanical Bride: Folklore of Industrial Man is
a pioneering study in the field now known as popular culture. His
interest in the critical study of popular culture was influenced by
the 1933 book Culture and Environment by F.R. Leavis and Denys
Thompson, and the title The Mechanical Bride is derived from a piece
by the Dadaist artist, Marcel Duchamp.

To the mind of the modern girl, legs, like busts, are power points,
which she has been taught to tailor, but as parts of the success kit
rather than erotically or sensuously. She swings her legs from the hip
. . . she knows that a "long-legged girl can go places." As such, her
legs are not intimately associated with her taste or with her unique
self but are merely display objects like the grille on a car. They are
date-bated power levers for the management of the male audience.





On Sun, Feb 21, 2010 at 2:12 AM, alice wellintown
<alicewellintown at gmail.com> wrote:
> Sexuality has biological, physical, and emotional aspects. The
> expresssion or performance aspect is not what sexuality is *all*
> about. That said, and since my point is about performance and
> expression, I won't quibble or diddle. In IV P is concerned with the
> shifts in narrative and so the argument that, ironically (?),  a
> new-feminism that embraces both a male gaze and a professional
> exhibitionism, a mechanical bride swing from a stripper's pole or from
> a real estate magnet's tie, seems worth considering.