“Camp Performance and the Case of Discotropic”
After Queer Studies: Literature, Theory and Sexuality in the 21st Century
edited by Tyler Bradway and E.L. McCallum
A close reading of time stamps (and this day which is not one)
[…] the text contains headnotes above entries that record the sending of messages at “12/8/15, 11:29 PM,” “12/31/15, 10.03 PM,” and so forth. The final such headnote reads “Today,” and a deliberation informs its sharing. Acosta could have captured an image of what his screen displayed some day or days after the final instalment of Exquisite Corpse was produced, at which point the software used in its making would have dated it differently. Instead, he wants us to see the story “end” […] “Today,” in part because Discotropic implicitly poses the question, “What exactly is ‘today’?” Troubling any stable notion of linear time is common to camp, to the temporal turn in queer theory of which camp criticism comprises a subset, and to Afrofuturist cultural production, in all of which formations Discotropic ramifies. Today becomes yesterday. It comes tomorrow. […]
And the beat goes on.
And so for day 2569