Alison Reed investigates the border- and boundary-crossing performance of Electronic Disturbance Theater 2.0’sTransBorder Immigrant Tool (TBT), an incomplete cell phone program that offers GPS, guidance, and poetry to those attempting to cross into the United States across the Mexico/US border. Reed suggests a provocation-based performance of “queer provisionality,” revealing the aesthetics of oppressive power structures by juxtaposing them to social utopias. Interrogating the national neoliberal project of both US liberalism and US conservatism, Reed’s essay is also a transcription of the performances launched around TBT, the social and political machinery set into motion by Electronic Disturbance Theater’s failed utopian project.
Keyword: United States
Whistlin’ Dixie
Whistlin’ Dixie seeks out folks at the forefront of the Southern queer music scene — living examples that queer community can thrive in these previously written off country roads and postindustrial cities. This documentary showcases these communities and examines their influences, challenges and motivations while putting a face on what it means to be queer, young and Southern.