1

"#$%&'(%) Thiough a posthumous collaboiation with my uncle I position his

scieenplay about a polyamoious couple, !"# !"%&' ()&*#& (198u), within a
continuum of physical, social, anu technological change by inteijecting mobile uating
technologies useu piimaiily by men who have sex with othei men (NSN) such as
uiinui. The changes that have occuiieu since my biith anu since my 0ncle's passing
aie auuiesseu as the stoiy piogiesses ovei a foity yeai peiiou that takes place
within one uay in iecuiiing locations within New Yoik City. Theoiist anu wiiteis
such as }os Nuoz, Laiiy Kiamei, anu Samuel Belany become chaiacteis in the
stoiy in oiuei to contextualize the public uiscouise within a peisonal naiiative.
Thiough this methouology I question the peuagogical methou of telling histoiies by
openly allowing ghosts of the past into oui thinking anu theoiizing about the futuie.







2
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Nay 7
th
, 2u1S

Beai 0ncle Billy,

Theie is an iuea of a technological utopia anu a queei utopia that peivaues
oui conveisations. The bouy will live to an olu age anu oui technology will put us in
touch with eveiything that we have been uepiiveu of anu aie missing. I must aumit
to you that I feel uneasy. I uon't know if these auvancements aie making happiei
people.

Since youi passing anu my giowing up theie have been many auvancements
both in teims of the bouy anu technology. You weie at the cusp of the uiscoveiy that
you hau to take multiple meuications to fight the viius. Now it uoesn't mean ueath
to get it but it costs a lot of money. Nost gay magazines have many auveitisements
foi these uiugs amiust pages of vacation uestinations anu enteitainment.

If you want to meet someone you can go online, you can use youi mobile
phone anu applications to seaich foi intimacy without going to a bai oi a specific
neighboihoou. You can liteially finu a peison on the tiain oi the gioceiy stoie
within a few minutes.

I'm not fully a pessimist oi a believei. I want to speak with you thiough youi
chaiacteis Bill anu Euwaiu because I feel that theii conceins aie still ielevant, that
they exist within a continuum, which I can ielate to.

Theie have been many uiffeient wiiteis, activist, anu aitist incluuing }os
Nuoz, Laiiy Kiamei, anu Samuel Belany who have wiitten on these topics. You
may have walkeu past them oi talkeu to in youi lifetime, howevei, I woulu like to
intiouuce you.

I want to finu a place on the boiuei of what

you imagined

anu what

I imagine.

I want to imagine a way of life that iests between the physical anu viitual woilus.
I want to finu a utopia on the boiueis of the city.

With Love,
}ustus

3
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SCENE HEADINGS - ONE LINE THAT DENOTES LOCATION AND TIME
Such as

INTERIOR - inside of a building or body. 1980
EXTERIOR - outside of a building or body. 2015

INTERCUT Instructions for a series of quick cuts between
two scene locations.
CHARACTERS
Dialogue between characters.
Spoken words not thoughts.

Actions and descriptions of present conditions, which are
thoughts not spoken words.


The camera is used to describe the presence
of a witness who has a specific point of view and
experience of time.


The word we is used to refer to sharing the same
perspective as the camera.


The camera can become its own entity both in and outside of
the body.

It can transition from an eye to I.
EYE
I am speaking right now.
12 pt. Courier is the standard screenplay font in the U.S.
(my uncle wrote in this font)

12 pt. New Courier is the font I am writing in.

12 pt. Book Antiqua is the font that I am using to denote other authors.
( Jos Muoz, Samuel Delany, Larry Kramer)

12pt. Helvitica is commonly used as a font for texting.

See appendix for information on BAR, THEATER, RESTROOM, LARRY,
SCULPTURE, JOS, SAM, SMALL BLACK OBJECT, and APPLICATION...
4


The first in a series of found and family photographs.












































Utopia on the Borders of the City: is an adaptation of
selected scenes from the original screenplay The Third
Corner by Murray Salem (1951-1998) completed in 1980.

City Skyline - Morning, New York City. Personal photograph by
author. 1960's.

5
EXTERIOR. FLYING ABOVE THE ATLANTIC, NEAR A MAJOR U.S.
CITY. 1969
We see a large plane flying through patches of clouds
towards an expansive city skyline. The screen slowly
pulses as the camera moves between clouds and the night
sky.

The refracted light of nitrogen particles is slowly turning
the sky blue.

The curvature of the earth is visible on the horizon.

Morning chases the plane as it approaches an expansive
city.

There are many people dreaming in close proximity.

MAN

Everything is green. There are
houses emerging out of the
trees, acres and acres of warm,
green trees.
I see a lawn behind an old
house. A man stands near the
house. He is tanned in a
short-sleeved shirt and sandals
looking at the garden.
I hear a child crying in the
house (Salem 173). There is a
mans voice. He calls to the
child.
I am barefoot I look down on the
pavement and see a face
reflected in a puddle made from
a hose left running in the lawn.
The skin is glowing and the eyes
that stare back are clear. They
do not hesitate. They have a
singular focus.
I raise my hand to touch the
face, it is now wrinkled. The
eyes in the reflection wince at
the sight of the form.
6


WOMAN
Two men enter my room, one
removes his shirt. He speaks to
me, he is young. His voice is
familiar and deep. It is
overwhelming.
My face rubs against the hair on
his chest.
There are naked bodies curled on
one side of a bed. The other
man is clothed and motionless.
He stares at me.
A thigh tensed.
My head moves side to side.
Lips.
Torsos, hard against each
other.
Head thrust back, tensed.
Breasts crushed beneath him.
Stomach muscles contracted.
Back muscles contracted.
A pile of bodies intertwined
(107-108).











7
MAN
I am in a small boat. There is
a fleet of boats surrounding me.
The sun is bright and the faces
of the people are illuminated.
They are young and old. I see
my grandfather and mother. They
wave as they join a large group
of people.
There are waves coming by. They
rock all the boats. People take
notice, some holding onto
others.
I jump into the water. My body
moves in every direction. It
responds to the sensations of
the liquid around it and the
people watching.
Others join. Our boats spin and
change places as they drift
unoccupied. No one seems to be
concerned.















8
PART I

When are we two and when are we more? Is this a question
of intimacy? How does intimacy become belief? How does a
mood return? How is the way home always lonely, always
familiar, and always an escape?


Gregg Bordowitz, Volition (59).














INTERFACE A surface lying between two portions of matter or
space, and forming their common boundary(Interface, OED).


INTIMACY Of a relation between things. Made or entered on
by three or more parties (Intimacy, OED).


UTOPIA: An imaginary island, depicted by Sir Thomas More as
enjoying a perfect social, legal, and political system.
(Utopia, OED).
The city coming into focus. Personal Photograph by author
9
INTERIOR. BOEING 727. MORNING 1969
BILL, 26, handsome, dark hair, is sitting by a window over
the wing of the plane. He squints his eyes as he looks
down below (Salem 3).

The screen flickers as we move between clouds and bright
sunlight hitting the steel surfaces of the buildings.

The camera quickly glides past a theater
1
amidst large neon
signs. There are two men walking inside.

We see a man walk into the bushes in a shaded park.
We see several men walk into a small restroom
2
.
We see a small bar
3
surrounded by police and a mob.

ED 42, athletic build, blond (Salem 1), is sitting several
seats away, he looks at BILL but BILL does not notice him.

ED sits back in his seat and imagines what BILLS voice
sounds like and a conversation they might have. The last
bit of his dream is crowded out by the new thought.

EDs face is handsome but has fine wrinkles along his
forehead and at the corners of his eyes. His skin is clear
and pale. He has small lips and a very fine layer of
facial hair, which extends to his neck.

The smell of cigarette smoke fills the cabin.

The sunlight briefly holds the form of a beam as it comes
through the windows of the plane.

There are 149 passengers moving in the same direction.
They are seated in rows of three.
EXTERIOR. MAJOR METROPOLITAN AIRPORT

Roar of jet engines. We see a completely grey screen. The
roar of engines increases, giving the impression that a
plane is approaching.

The roar becomes deafening. Suddenly, yards in front of
our eyes, a huge jet emerges. It taxies over the camera,
and is swallowed up by the fog again.


From time to time a service vehicle or workman emerges from
the fog and passes back into it.

The camera moves through the fog to the terminal. Camera
moves in on a stationary plane with passengers disembarking

10
We see the sky from 10,000 feet above it is blue.
We see the sky under the cloud line. It is an almost white
opaque grey.

The camera pans down overlooking the airport.

Tens of thousands of small specks board and deboard the
planes.

We zoom in closer. The walls of the airport are now
transparent. The people are fully visible. We see them
walking in lines, circles, sitting and stopping. They scan
each other as they go through these motions. They make eye
contact.

INTERIOR. INTER-CONTINENTAL ARRIVALS BAGGAE CLAIM.
EDs wife, STEPHANIE, 36, tall, straight red hair, is
smoking, waiting at the gate (Salem 26).

ED comes down a long corridor to collect his bag. He hears
a child screaming in the distance.

Bill is sitting on a bench waiting for his bag. ED sits
next to him. ED can smell a mixture of cigarette smoke,
sweat and cologne on him.

Lights flash and the sound of the luggage carousel blares.
BILL gets up to collect his bags. ED gets up and stands
beside him.

The child continues to scream uncontrollably as the
carrousel blares.


ED
If that child was mine Id
murder her.
BILL
Do you have kids?
ED
Not yet.
BILL
You got on at Chicago, didnt
you?
ED
Yes.
11
BILL
I like Chicago I studied there
for a while.
ED
Good. Good.
ED stares out the window. Shot of the city skyline barely
visible.
God, I wish I was home.
BILL
I dont. Im just coming from
L.A. The only thing I will miss
is the weather.

BILL sees his bag and takes it off the carousel.

Bill and STEPHANIE catch each others eyes. STEFANIE looks
away (SALEM 24).

She sees ED and walks forward.

BILL (TO ED)
Well, ah...Ill probably see you
around.
ED
Give me a call if you feel like
it.
BILL
I need to go and catch the
train. Im starting work today
in the city.
ED
My wife is here, we have a car,
we could...
Bill waves, ED waves (Salem 30).

Struggling to hear, BILL walks through the sliding doors to
the train platform

12
INTERIOR. EDS CAR. 1967 BLACK MUSTANG COUPE.
STEPHANIE
How did you meet him?
ED
We were thrown together for
twenty-four hours. He was
someone to talk to. I feel a
bit sorry for him.


The camera pans up and then quickly down a skyscraper. It
is not particularly attractive. ED and STEPHANIE look up
simultaneously for a moment
ED
By the way, where were you last
night?
STEPHANIE
Home.
ED
But I phoned. Nobody answered.
STEPHANIE
Well, I went out for a moment.
It must have been then.
ED
But it was busy just before.
STEPHANIE
I called the airport, and then I
went out to the shop
(SALEM 26-27).

The car pulls up to a chic advertising building. STEPHANIE
gets out of the car (67). The camera focuses on her legs;
they are forty-five inches long. The camera stays on
STEPHANIE until she enters the building through white
double doors.

INTERIOR. TRAIN. HEADING EAST INTO THE CITY
BILL looks around. There are about thirty people on the
train cart. Two women are speaking Spanish rapidly; they
are wearing green and red nail polish.

13
A very fit Japanese woman is reading Anna Karenina. She
has on a thin silk red scarf and a plain blue knit sweater.

A homeless man is slumped over two seats in the back
corner. He has a black metal cart; it is filled with
bottles and shopping bags. The smell of urine and alcohol
fill the air.

Two men

in worn business suits are sitting next to each
other. Occasionally one will glance at the other. They do
not speak. One of them has a hole in the sole of his left
shoe.


BILL looks out the window.
He sees unlit neon lights, and sign for an old nickelodeon
theater
1
. A tall women waves in his direction as the train
passes. There is a row of sycamore trees; their trunks are
blotched with diffused light. There are people in the park
smoking and disappearing behind bushes. There is a man
with a guitar on the grass playing a song that cannot be
heard through the train window.


















14
PART II

Illness is the night-side of life, a more onerous
citizenship. Everyone who is born holds dual citizenship,
in the kingdom of the well and in the kingdom of the sick.
Although we all prefer to use only the good passport,
sooner or later each of us is obliged, at least for a
spell, to identify ourselves as citizens of that other
place.
Susan Sontag, Illness as Metaphor (1).



Intertwined forms, proteins, sketches for a sculpture. Personal photograph by author
15

INTERIOR - EDS APARTMENT - LATE AFTERNOON.
Shot of the phone ringing. The door is unlocked and Ed
rushes in and answers the phone.
ED
Hello.
CALLERS VOICE
Hello.
ED
Yes. Hello. Hello?
(CALLER hangs up)
ED puts the phone down
(Salem 63).

INTERIOR. 1986
The camera focuses on a large round structure with a small
doorway and pans smoothly across a tunnel of flowing
particles.

There is a thick fog and the sound of wind or moving
liquid, which create a rhythmic white noise.

We see a protrusion on the structure and grab it like a
door handle. Suddenly we taste sugar on our lips.

We move our body to the surface. We fall.

We are in free fall. Our bodies are stripped and then
dismantled.

Our history is spread in space as a multitude of different
parts which begin to gather in the form of a spiraling
sculpture
4
.
INTERCUT. CITY STREET.
ED walks up the street heading north. The sun is almost
directly overhead, creating a soft bright spot in the
otherwise opaque grey sky.

INTERCUT. INTERIOR

The sculpture is long with many twisting cavities. Each
prong and piece of it is attractive and yet to think of
looking at the multitude of parts is overwhelming.

16
We become the same height as the sculpture. To understand
it, we pose and twist our body till we are almost its
mirror image.

We see a form that looks like us. There is nothing to be
overwhelmed by. We see a host of identical forms around us.
They are rushing to the walls of the structure. The are
making their way back outside.

INTERCUT. CITY STREET

LARRY
5
, bald, 51, tall, with round glasses is walking south.
He looks flustered. He looks up as he approaches ED.

The camera moves rapidly between EDs and then LARRYs
perspective.

ED walks by staring at the buildings he thinks he could
have built; he is wealthy but a mediocre architect.

LARRY stares at ED. They are six feet away.

ED looks at LARRY for a moment, his eyes flicker from his
baldhead to his glasses to his belt to his plain worn shoes
and then back to the buildings.

LARRY stares at EDs eyes, mouth, neck, and groin. He turns
his head back slightly to look at him as they walk past
each other.

INTERCUT. INTERIOR

We hear a muddled voice, a deep vocalization of something
but it is not discernable. It has the inflection of what we
guess is a question.

INTERCUT. EXTERIOR. SHOE STORE
6
ED
How much are these?
STORE CLERK
They are ninety-nine dollars and
ninety-nine cents.
ED is still wearing the clothes he had on at the airport.
He looks flustered.

He tries on several pairs of shoes. First a brown leather
pair with an elaborate hole pattern on the toe, which rests
on a piece of leather that forms what looks like a crows
peak facing the laces.

17
He then tries on a pair of shoes with polished black
leather at the toes which transitions into brown matte
suede near the heel.

The shoes are expensive, after lengthy consideration he
purchases the first more attractive pair.

INTERIOR. CHIC ADVERTISING BUILDING. AFTERNOON.
STEPHANIE in front of white drop cloth. The PHOTOGERAPHER
taking snap after snap of her. After each flash the still
should be held for a fraction of a second.

The PHOTOGRAPHER moves in and around STEPHANIA, coaxing her
to give him what he wants.

PHOTOGRAPHER
Thats it, Babe. Thats right.
Good. Good. Give me a smile.
Bigger. Open. Down with the
chin. OK. Big smile. Bigger.
Look left. Look up. Shake your
hair. Shake it. Good. Look
frightened. More. More
frightened. Vulnerable. Be
scared. Really scared. Good.
Ive only got a few more. Give
me a sad one. Sadder. Little
girl. Now smile. Bigger. Big
smile (Salem 95-96).


The camera has a greater degree of clarity than before. It
continues to jump from body part to body part. It rests on
her lips and then her neck, her breasts, and then her
stomach.

The fragments of her body look more tense and cold than the
whole. STEPHANIE walks out of the frame. The camera
focuses on the white background.

It forms a flat glowing rectangle against the darkness of
the studio.



18
INTERIOR. THERAPY CENTER.
Bill walks in to a large white room with only chairs.


BILL is training with Mr. REES who already has four clients
in for group therapy: ALICE- 27, plain, a social worker,
ALBERT- 65, a retired pharmacist, SIMON 24, city
accountant, and MARTHA 58, a widow.

BILL starts with MARTHA.


MARTHA

...Jim, hes younger than me.
Hes my friend. We go out.
Have a good time. I feel young
when Im with him. No longer
alone and old and...Whats money
when youre lonely. I was so
lonely before I met him. So
lonely...
BILL
Try to keep going.
MARTHA
They said it is disgusting.
BILL
Who said it is disgusting?
MARTHA
My son. My sister.
BILL
Tell me what they said?
MARTHA
They said, Its disgusting. It
isnt done. Youre old...
BILL
Try to keep going.
MARTHA
...They said Im...
19
BILL
Martha, talk in the present.
Pretend youre them. Tell
Martha what you think of her and
Jim.
MARTHA (VERY SOFTLY)
Youre old. Youre a mother.
You have grandchildren. He only
wants your money. Its
disgusting...Youre old.
MARTHA has gone blank. She painfully searches for words.
BILL
OK. Tell them theyre right.
Say, Youre right, I am...
MARTHA
Youre right. I am old. It is
disgusting No! No! Its not
disgusting. I dont know.
I...sometimes think I...
BILL
Now MARTHA, whats happening to
you?
MARTHA
I dont know what to think.
MARTHA
I feel confused...I feel weak.
Helpless.
BILL
Now tell Jim how you feel about
him.
BILL
Pretend Im Jim. Pretend Im
your friend, Jim. Tell Jim how
you feel with him.
MARTHA
Its nice being with you. I
dont feel old anymore. You
make me feel young, like
laughing, like having a good
time.
20
BILL
Now tell your son the same
thing.
MARTHA
Im ashamed to tell him. Im
supposed to mourn. He wont
understand. He makes me feel
dirty.
BILL
Say that again.
MARTHA (LOUDER)
You make me feel dirty.
BILL
Again, tell him, mean it.
MARTHA (CRYING)
You make me feel dirty! Its
not dirty. Its not. Its
good... I dont want to be
old...(Salem 103-107).















21
PART III
And thus, when some people happen to find themselves
together, taking shelter from the rain under an arcade, or
crowding beneath an awning of the bazaar or stopping to
listen to the band in the square, meetings, seductions,
copulations, orgies are consummated among them without a
word exchanged, without a finger touching anything, without
an eye raised.

Italo Calvino, Invisible Cities (51).

































A view of many people in private places in close proximity. Personal photograph by author.
22


EXTERIOR. PUBLIC PARK.
The camera pans across newly built apartments. There is a
pale reflection on the glass. We briefly see the soft
outlines of people moving inside. Their silhouettes are
almost pressed against the glass.

The camera pans down. We see ED from above walking along a
street adjacent to a park.

He stops next to a cinderblock structure with a small
window on both the east and west walls. He pauses by the
east window for a moment.

ED walks along the lattice and then enters through an open
doorway on right.

INTERIOR. PUBLIC RESTROOM
2
.
The restroom
2
is small. A soft light comes through the west
window and casts a warm glow on the concrete floor.

There are two stalls opposite the door. There is water on
the floor. It is slowly moving to a drain in the middle of
the room.

ED is at the entrance. The camera focuses on a man
standing by the west-most urinal to the left of the stalls.

We see him from behind moving his right arm along his inner
thigh.

Another man is leaning against the wall of the stall facing
the man at the urinal.

The camera slowly pans across the urinals, which reflect
light in wide arching patches along the porcelain forms.

The camera rests on the jeans of the man against the wall
of the stall.

He holds a protruding form in his left hand.

The camera pans up.

He is wearing a fine dress shirt.

A checkered blue tie.
A neck that is wet with perspiration.
23
Lips that are barely parted.

The camera zooms in on the mans eye. His pupil slightly
contracts and dilates under the reflected image of the man
at the urinal.

ED walks forward towards the stall opposite the door.

The man leaning against the stall makes eye contact until
he is behind the wall.

ED unzips his pants.

The camera looks down from above. We can hear the stream
of urine below entering the toilet basin.

ED finishes. He holds himself for a moment before zipping
up his pants.

ED turns and exits the stall. We hear the sink turn on.
The camera lowers down to waist level still in the stall,
turns left and moves towards a circular opening the size of
a baseball in the wall.

The light is overexposed for a moment, the camera adjusts,
and we see the two men at the urinal through the hole.

The man who was at the wall is now directly in front of the
other man. He is kneeling. He has a hole in the sole of
his left shoe. We see his left hand moving slightly
underneath the khaki pants of the other man.

Both men turn hold their gaze to the left of the frame
where the noise from the sink was a moment ago. Their eyes
trace a figure moving towards the door.

The camera zooms in. We see multiple reflections of ED by
the entrance.

The camera zooms in again. We see EDs face in the
reflection.

His lips are barely held together by a thin line of saliva.
His eyes flicker from the floor to ceiling. He turns his
head and disappears behind the lattice outside.






24
INTERIOR. EDS APARTMENT. SITTING ROOM. LATE AFTERNOON.
STEPHANIE and LESLIE (37, a professional model) sit on the
sofa.

There is a panel of large glass windows overlooking a park
and several large street intersections.

The apartment is modern with blond hardwood floors and
white leather furniture. There is a kitchen west of the
sitting room and a large bedroom to the south off a small
hallway which separates the two areas. The only room with
a door is the bathroom adjacent to the bedroom.

A slight breeze flows through the apartment. It rustles
STEPHANIES blouse.

The camera slowly pans from the view of the city past
LESLIE as she speaks and rests on STEPHANIES face.


LESLIE
You know the one I mean. Mark.
Harrys assistant. The blond
one.
STEPHANIE
Yes. Yes. Go on.
LESLIE
Well, you know how pretty he is.
I mean everyone thinks hes gay.
STEPHANIE
Isnt he?
LESLIE
Wait for it. So , Im at the
studio. Its late. Everyone
left ages ago. And hes waiting
to lock up. He doesnt hurry
me. Says nothing. But he keeps
coming in from time to time,
stares for a moment, and goes
out.
STEPHANIE
What were you doing?
25
LESLIE
I was pretending to read vogue.
I never looked up. Finally I
said, Hey you. He didnt
answer. Said nothing. He just
moved towards me. He stood
practically over me. I was
thinking desperately for
something to say when
suddenly...suddenly I realized I
was wet. I was ready for him.
And before I knew it, I was
undoing his trousers.
STEPHANIE
What did he do?
LESLIE
Oh, he was ready as well. I
mean hes only twelve, isnt he?
STEPHANIE
Sixteen Id say. Anyway...
LESLIE
...And before I knew it, he was
on top of me. But I was so
ready that we both came almost
at once. And that was the
extraordinary thing...Ive never
come like that. I thought it
would never stop.
The camera zooms in closer and slowly moves between
STEPHANIES eyes and lips. Her head is slightly turned
facing the windows. We see her eye lids, they are raised a
few millimeters. Her pupils dilate and then contract under
the reflection of the city stretched across the moist film
that covers her eyes. Her lips almost part but are held
together with a constant effort from the surrounding facial
muscles.
STEPHANIE
Then what happened?
LESLIE
He...cried!
STEPHANIE
No.
26
LESLIE
He recovered. We got dressed
and went on our ways.
STEPHANIE
Youre too much.
LESLIE
You could have him.
STEPHANIE
Oh you.
LESLIE
Why not?

STEPHANIE
Come on, drink your tea. Im
throwing you out. ED will be
home any minute (Salem 46-49).
LESLIE
Of course such a prude life.
The camera stays on STEPHANIES face as LESLIE exists and
shuts the door.

The telephone rings. STEPHANIE goes to answer it
She looks at herself in the mirror.

At first STEPHANIE listens out of curiosity. Then his
words begin to excite her.

She looks at herself in the
mirror. We see the parts of her body he mentions.

We detect her slightest physical reaction to his words, a
quickened breath, a swallow.
She touches her face lightly.

27
CALLERS VOICE
Its enough for me just talking
to you. I can see you. Your
smooth skin. Id like to touch
you. Warm. Warm breath. On
your eyes, your ears. All over.
Breath.
(Very softly)
Dont hang up. Please. At
least let me tell you. Let me
tell you. Please baby. I want
to be close. Your
soft...smooth...warm...close...
closer...tighter...its nice.
Just listen. Thats all I want.
Thats enough. Its nice.
Telling you.

STEPHANIE slowly puts down the receiver. With the
slightest touch she runs her hand from her face, along her
neck, and over her breast (Salem 13).


INTERIOR. A LARGE TERMINAL STATION.

BILL is standing in the main entry of the station. The
sound of different arrival and departure times can be heard
over an intercom.

He is glancing at the ceiling of the station. The camera
pans across a mosaic of the entire zodiac.

He sees two twins, a scorpion, an arrow flying through the
air, all formed by a cluster of small tiles.

The camera jerks down to a womans face who has just run
into BILL.

BILL
Hello.
WOMAN
Are you alright?
BILL
Yes, I got distracted by this
the mosaic.
28
WOMAN
Right, I see. Do you know where
youre going?
BILL
I think so. (He gesture towards
a small black object
7
.
WOMAN
That doesnt work in here. The
signal is blocked by the
buildings.
BILL
I see.
The camera slowly scans the WOMANs face. Her lips are
full with smooth skin, she is tall, she has freckles, and
dark brown eyes.

The camera pulls away from the womans face. She and BILL
disappear together into streams of people rushing in many
directions. Many of them are looking down at small black
objects
7
. Sometimes they brush into one another but do not
usually look up.

























29
PART IV

Exposure to new people doesnt automatically produce
tolerance, even though we might want it to.
Relationships are situated within a CONTEXT ...
Relationships are defined by CULTURE; their types are
SOCIAL CONSTRUCTS ... Relationships do not exist without
POWER.

Danah Boyd, Senior Researcher for Microsoft.






























View from a small apartment with several suitcases and folded sheets on the bed. Personal photograph by author.
30



INTERIOR. EDs APARMTENT.

ED looks down at a small black object
7
. It is rectangular.
It is approximately 2
1/4
x 4
1/2
inches. It is ! inch deep.

He reads a description of an application
8
on the screen of
the object.

0 Feet Away isnt just a cute slogan we
print on our T-shirts. Its a state of mind, a
way of life a new kind of dating
experience. Turning your phone off and
being there in-person with that guy you
were chatting with is the final goal of using
the app. Being 0 feet away is our mission
for you (Grindr).
BATHROOM.

He creates a profile. It reads.

ED. Online, 0 feet away, 42 years old,
White, 61, 165 lbs.

Always looking for cool ppl to hang with. In
or out of clothes. Masculine guys, NSA,
DDF only.
Professional. Travel for work often.


He is trying to take a photo of himself but is having
difficulty finding a natural looking position.


He takes his cologne off the counter, shuts the door to his
bedroom and removes his shirt. He takes several photos.
The first few are blurry and the narrowness of the bathroom
makes it hard for him to get into a natural looking
position.

The black object flashes. A light appears at eye level in
the mirror and covers the image of his face.

31
He settles on the one where he is turned to the side with
his left arm down and his right arm on his chest, slightly
smiling, flexing his abs.

He hesitates for six seconds and then sets it as his
profile picture.

LIVING ROOM.
Stephanie is sitting on a white leather sofa. Her legs are
long and her skin is exceptionally smooth.

We see the television screen. She is flipping through
movies on demand. She scrolls down past several classics
Casa Blanca, Some Like it Hot, Pretty Girl, Cabaret,
Tootsie,.

She looks bored. She glances at the bathroom door and then
back at the television.

INTERIOR.
Our bodies, having been newly shaped, fit easily inside the
opening as we move into a large room.

The camera scans the space. It is like a gallery, except
there is no floor.

We merge with the camera: our visions become one. We are a
single EYE.

In the center of the room there is an enormous circular
sculpture with tapered curving wires that almost seem to
spell words. It attracts us, our body quivers. We cannot
help but approach it.


JOS
10
, 42, 50 nanometers away, black hair, Cuban-American,
is looking at the sculpture.

He is short and is wearing square narrow black-framed
glasses.

His stomach bulges slightly underneath a blue designer
vest.

We move beside him. He begins to speak to us. We watch
the saliva that rests between his lips part as he opens his
mouth.

It is not easy to understand him at first but as he
continues a discernable rhythm develops.
32

JOS
10
The work represents the idealism of utopia
while also representing the importance of
effectivity and actuality.

Its negation of physical players and its
choice to represent absence permits a
viewer, strangely enough, to occupy a
space both inside and outside the
predictability of such an established
dialectical pattern.

We listen to him as he speaks. We begin to wonder where we
are. In order to communicate we imitate him and speak as
if we had lips, a throat, and a mouth.

EYE
I dont understand you. Where
are we? What are we looking at?

JOS
10
By not representing a world of urban decay
associated with postindustrial decline, the
images vividly resonate differently than
most representations.
Electric on a pale blue background connotes
something other than the negation we
associate with lack or loss.

EYE
Are we in a city?
JOS
10
What is this work showing us? It render
something akin to something that marks
city landscapes.

EYE
Is this what a city looks like?
33
JOS
10
The work rehearses the potentially utopian
aesthetics of the cityscape.
EYE
Is there anything else you can
tell me?
JOS
10
The work tells us something is missing. In
Traces, three fairly concise sentences follow
the title Not Enough.

One is alone with oneself.
Together with others, most are alone even
without themselves.
One has to get out of both.
This aphorism can be read as an instruction
manual.
This getting out of oneself with and without
others is an insistence on another mode in
which one feels the collective (Cruising
Utopia, 70-72).
EYE
Is this a work of art? I see
part of someones body. You are
creating a gross abstraction...
As we speak a tearing sound overwhelms our voice. The
walls of the room burst open we are being hurled through a
tunnel of fluid.

JOS is still speaking but is not audible. He is a cell
amongst other cells. He is not particularly attractive. A
multitude of round cells disperse from the debris of the
room.

We watch them move toward other cells, grabbing them and
then disappearing underneath their surface.
One of the round cells knocks into JOS, it does not
apologize, it moves forward, its vision is selective and
without compassion.

34
EXTERIOR. CITY STREET.
BILL is walking along the sidewalk with his suitcase. The
sound of the wheels hitting the concrete is unexpectedly
loud.

There is a theater
11
with a glowing neon sign.

BILL walks past and then turns around.

The sign is bright against the dim blue light, he sees a
sign for a 7:30PM play. He crosses the street and enters
the theater
11
.

INTERIOR. THEATER
11
.
The theater
11
is crowded. The camera pans across the foyer.

We see an older man, SAM
12
,71, light brown skin and a thick
white beard. Some of the people around him talk loudly.
Others look down at small black objects
7
. They periodically
stroke the object and look up.

BILL makes eye contact with the man.

He walks over to the ticket counter, purchases a ticket for
the play and approaches the man.

BILL
Hello.
SAM
12
Hello. do you plan to move in
here with all your belongings?
BILL
I wish these were all my
belongings.
SAM
12
I was on my way to my seat.
Where are you?
BILL
In the balcony.
SAM
12
Ill join you. Im fond of the
balcony of this theater.
35

SAM and BILL make their way past the concession stand.
BILL purchases a bottle of water. They continue to a
staircase leading up to the balcony.

BILL follows SAM. He opens the door and walks up three
rows. He sits down one seat from the isle leaving a place
for BILL.

BILL
Im not seated here.
SAM
12
Then move if someone comes.
BILL
Alright.
SAM
12
Ive met a lot of people in this theater since
I started coming in the summer of 1975.
In the sex theater
11
specifically.
BILL
The sex theater
1
? The Normal
Heart didnt sound like a porno
title to me.
SAM
12
Ive met playwrights,
carpenters,
opera singers,
telephone repair men,
stockbrokers,
guys on welfare,
guys with trust funds,
guys on crutches,
on walkers,
in wheelchairs,
36
teachers,
warehouse workers,
male nurses,
fancy chefs,
guys who worked at Duncan Donuts,
guys who gave out flyers on street corners,
guys who drove
garbage trucks
as a gentile this is the only place Ive had
any extended conversation with some of
the citys Hasidim.
BILL
I see. Well Im a therapist.
I guess you can add that to your
list.
SAM
12
Refrequenting the theater I noticed a dozen
or so patrons were men Id seen there
regularly three, five, ten years before. The
place seemed almost a kind of family, with
a neighborhood feel...It was surprising how
little the pornography changed that
(Delany 103.)

BILL is about to reply as the lights lower and the curtains
open.

As the lights lower BILL reaches into his pocket and pulls
out a small grey object.

He takes a lancet device from the case and pushes the
cocking mechanism back. He puts the device up to his right
wedding finger and presses it. The needle penetrates the
skin and ruptures several small blood vessels that flow in
an organized network under the skin.

BILL looks down at the small grey object it reads 200.

37
He takes a large gulp of water and looks at the stage. He
touches several buttons on the small grey object delivering
several microbursts of insulin under his skin.

The camera pans from the small grey object to the stage
zooming in close enough to see the forms of the people but
the faces are small and not specific.

We see three men in what looks like a doctors office.

The play washes over BILL in fragments he is having trouble
hearing what is being said. He focuses on what he sees
instead.

There is a man with highly visible purple lesion on his face. He wears a long-
sleeved shirt. He goes to get his jacket, which hes left on one of the chairs

Another man is in his underwear. He is sitting on the examining table. There is a
woman in a wheelchair examining him, his skin particularly, starting with the
bottom of his feet, feeling his lymph glands, looking at this scalp, into his mouth

She is now examining another man. She takes a tongue depressor and holds his
tongue flat; she checks the pulse in his neck; she looks into his eyes for vital
signs, he had been convulsing a moment before and has now stopped

A man leans over another man and kisses him. The kiss becomes quite intense.
Then he breaks away, jumps up, and begins to walk around nervously

The other man pulls one of his socks off and shows a purple spot on his foot.

The doctor from before holds the mans hand monitoring his pulse, places his
hand on his body. She leaves. The two orderlies enter and push the hospital
bed, through all the accumulated [debris], off stage.

There are two men holding each other (Kramer 1-61).



The curtain closes.

SAM
12

Are you alright?
BILL
I am.
SAM
12

You look healthy.
BILL
I am.
38
It just takes a way of being, a
lifestyle to be healthy.
Sometimes the body attacks
itself, mistaking its own cells
for a pathogen.
A momentary internal confusion
inside the body that has a long
term effect.

BILL and SAM
12
get up and exit back down the staircase.

They pass the concession stand on their right and exit
through a side door.

A man
5
is outside, he is bald, 74, tall with round glasses
He looks flustered. He is handing out pamphlets that say
the The plague is beginning.

BILL makes eye contact with him but does not take a
pamphlet.

There is a light shining through one of the trees. It
looks like a street lamp. BILL sees that it is the moon.
In the glow of the city and amongst the lights it does not
exhibit any spectacular qualities.

























39
PART V




Eyes form the shape of the city.

Haruki Murakami, After Dark (1)






















iPhone photos of city on an island and a profile on the Scruff application, 2013.
Personal Photograph by Author



INTERFACE The device or component that serves to physically
and logically interconnect two other devices or systems and
that enables their interoperation
(Interface, YourDictionary).


INTIMACY Euphemism for sexual intercourse (Intimacy, OED).


UTOPIA A space outside of heteronormativity. It permits us
to conceptualize new worlds and realities that are not
irrevocably constrained by the HIV/AIDS pandemic and
institutionalized state homophobia (Muoz Gohsts,35).


40
INTERIOR. EDS APARTMENT.
ED is making love to STEPHANIE. He forces himself,
straining, his eyes are closed. He breaks away, and sits
on the side of the bed(Salem 37).

EYE
I see a grid of body parts
8
, a face, a torso with a radial
light obscures the face, a man in leather, a boy bent over,
flexed abdominal muscles, a lower back, a shirtless man
smiling in front of a lake.

ED
STEPHANIE, who are you seeing?
I watched you the other night
with someone on the phone,
whispering. I saw you listening
to him with you eyes closed
touching your neck.

STEPHANIE
I dont know who that was, I was
afraid.
ED
Please tell me the truth, who
were you talking to?
STEPHANIE
Someone keeps calling, I didnt
want to worry you. I dont know
who they are.

We hear ED grab his keys.
EYE
ED picks me up. He holds me in his hand and touches my
eye.

I see the man from the plane. His face is visible, he
stares directly at me. He is 1,423 feet away.

I see a series of messages exchanged.
9:57PM Hey whats up, how are you?
BILL
9:59PM Just got into the city. Who is this?
41

ED takes the elevator down to the parking garage.

EYE
Ed stares down at me his eyes contract and dilate as he
scans my surface. I stare back at him.
ED
10:04PM Its ED from the plane.
EYE
ED looks at me again, carefully studying my surface.
BILL. Online, 1,423 feet away, 26 years
old, Middle Eastern, 510, 155lbs.
Just moved to the city. Looking for good
company. Interested in men and women.
Working as an official therapist and
unofficial writer. Just moving back to the
states from London.
Lets meet in public and go from there.

ED Gets in his car.

Eye
A blue light glows against Eds face in the darkness.
BILL
10:16PM I didnt recognize you from your
photo.
ED
10:17PM Interesting, lol.

ED pulls up to a close bar it is very busy, he walks in,
orders a whiskey, sits down, and stares at the people
around him. There is loud music playing. Ed does not
notice.

ED
10:31PM Im an architect.
BILL
10:32PM I see, big shot.
42
ED
10:52PM Do you want some company?
EYE
ED is staring at me and pays no attention. I zoom in on
his lips they are slightly pursed. His face is blotched in
blue and low red light.

I look him in the eye. I zoom in closer. There is a man
reflected along the curving wet surface of his eye. ED
does not see him.

BILL
11:00PM That would be nice sir. Im in the
park at the moment.
ED
11:00:24PM Why dont we go to your
place?
BILL
11:08 I just moved in and it is very small.
All I have out is a blue toothbrush and
sheets for my bed.
ED
11:08:22PM That sounds good to me = )

The man next to ED is perspiring heavily several drops of
sweat fall onto EDs shoe.
EYE
ED holds me in his right hand. I glimpse the man at the
bar staring at ED.
BILL
11:15PM Here is where I am.

Many of the other people in the bar are holding small black
objects
7
They do not notice ED leaving. I hear the door
shut.
EYE
I see a set of coordinates. BILL is on the east side of a
street which rests along the edge of a park. There are
sycamore trees that stretch the length of its perimeter.
ED
11:16PM Cool. Im on my way.
43
EYE
ED traces my surface and touches me. I see a map of the
city reflected in his eye. He is sweating. His lips are
parted. A drop of his sweat hits my surface. His face is
warped. It undulates and moves for a moment.

I see a man behind him. His hand is raised.

I see a spinning vision of the street. I hit the pavement
face up.

I see a man pressing his fist into ED. I see another man
take a leather rectangular object out of his back pocket.


INTERCUT. PUBLIC PARK

BILL is sitting on a bench in the park. There are several
heads moving in the bushes to his right.

The camera focuses on the fountain, following the streams
of water as they break the surface of the blue tiled basin.

It then pans over to the bushes. We see fragments of body
parts through the leaves. Open mouths. Tense. A hand on
a chest. A hand on a back.

The camera pans up towards the sky. The moon is much
higher now, it is almost full. It bathes the park in an
almost complete light.


EXTERIOR PAVMENT OUTSIDE OF A YOGURT SHOP
14
AND HIGH RISE.


A light that is not the sun but reveals forms and creates
shadows.

The camera moves close to EDs face. We see his eyes
moving from under the skin of his eyelids.

The camera moves closer.

We see a small cut on his temple, it is has stopped
bleeding.



BILL
11:25PM Ill be on the bench facing a small
fountain by a fire hydrant.
44
BILL
11:45PM Im going to get something to
drink and bring it back to the park. Call me
if you cant find me.
BILL
12:01 I think Im heading to bed. I hope
you have a good night.
We see a man walk past ED and pick up a small black object
7
.
EYE
A man is looking at me. I have never seen him before. He
touches me with his hand. It is dirty. It leaves an oily
charred residue on my skin.

BEARDO88
12:03:PM Hey cutie whats up?
EYE
I see a body. It is the man from two days ago. His left
hand is raised holding the back of his head and his right
hand is extended looking in a mirror. He is shirtless. He
has a tattoo on his right wrist of a bracelet knotted with
two strings waving counter-clock-wise.

He has thick dark hair and a beard, there is a Lichtenstein
print of a white hand holding a blue telephone, four
knuckles are showing and the word SLAM is reflected
backwards in red lettering.

BEARDO88
12:17PM ??
12:56PM Hey sexy Im alone now come
over (Scruff, April 2013)

We see waves washing against an island. The water is
clouded with viscous oil and particles. There is algae
that has mixed green streaks into the lapping waves.

We see the city from above. There are constellations of
white lights that make paths across the narrow island. The
long mass pulses under this glow.

Many people are dreaming in close proximity. We see face
after face with eyes shut but moving.

45
Works Cited

Bordowitz, Gregg. Volition. New York: Printed Matter, 2009. Print.

Boyd, Danah. NYC Theorizing the Web Conference, 2013. Transcribed.

Calvino, Italo, and Italo Calvino. Invisible Cities. Londres: Vintage, 1997. 55. Print.

Colter, Ephen Glenn. Policing Public Sex: Queer Politics and the Future of AIDS
Activism. Boston, MA: South End, 1996. Print.

Delany, Samuel R. Times Square Red, Times Square Blue. New York: New York UP,
1999. Print.

Ghansah, Rachel K. "The Paris Review." Paris Review. N.p., 2011. Web. 10 May 2013.
<http://www.theparisreview.org/interviews/6088/the-art-of-fiction-no-210-samuel-r-
delany>.

Grindr Features. 2009. Photograph. Grindr.com. Web. <http://grindr.com/learn-more>.

Halbfinger, David M. "For a Bar Not Used to Dancing Around Issues, Dancing Is Now
the Issue." The New York Times. The New York Times, 29 July 1997. Web. 09 May
2013. <http://www.nytimes.com/1997/07/29/nyregion/for-a-bar-not-used-to-dancing-
around-issues-dancing-is-now-the-issue.html?pagewanted=1>.

"HIV RNA." HIV & AIDS Information. N.p., n.d. Web. 10 May 2013.
<http://www.aidsmap.com/HIV-RNA/page/1322967/>.


Humphreys, Laud. Tearoom Trade: A Study of Homosexual Encounters in Public Places.
London: Duckworth, 1970. Print.

Historic Stone Wall Inn. 1960. Photograph. New York City. Thestonewallinnyc. Web.
<http://www.thestonewallinnnyc.com/StonewallInnNYC/HISTORY.html>.

"interface, n.". OED Online. March 2013. Oxford University Press. 24 April 2013
http://www.oed.com/view/Entry/97747?rskey=10MuQX&result=1&isAdvanced=false

"inteiface." YouiBictionaiy, n.u. Web. 1S Naich 2u1S.
<http:computei.youiuictionaiy.cominteiface>.
"Iphone." Wikipedia. Wikimedia Foundation, 22 Apr. 2013. Web. 22 Apr. 2013.
<http://en.wikipedia.org/wiki/Iphone>.

Jones, William E. Tearoom. Los Angeles: 2nd Cannons, 2008. Print.

46
Kramer, Larry. The Normal Heart. New York, NY: New American Library, 1985. 1-46
Print.

Learn More." Grindr. N.p., n.d. Web. 26 Apr. 2013. <http://grindr.com/learn-more>.

McWeeney, Michael. A Man Stops in Front of the Stonewall Inn on Christopher Street.
1997. Photograph. New York City. Silive.com. Statan Island Advance. Web.
<http://www.silive.com/news/index.ssf/2010/10/2_staten_islanders_face_hate-c.html>.

Melnick, Ross. "Variety Theatre." In New York, NY. N.p., 2009. Web. 10 May 2013.
<http://cinematreasures.org/theaters/288>.

Nuoz, }os Esteban. (&+%,%*- ./)0%12 !"# !"#* 1*' !"#&# )3 4+##& 5+/+&%/6. New
Yoik: New Yoik 0P, 2uu9. Piint.

Nuoz, }os Esteban. 7%,%'#*/%3%81/%)*,2 4+##&, )3 ()9)& 1*' /"# :#&3)&;1*8# )3
:)9%/%8,. Ninneapolis: 0niveisity of Ninnesota, 1999. Piint.

Murakami, Haruki, and Jay Rubin. After Dark. New York: Alfred A. Knopf, 2007. 1.
Print.

Salem, Murray. The Third Corner. Los Angeles. N p, 1980. Print.

Simone, Renata. "Frontline: The Age of AIDS." Frontline. PBS. New York City,
2006. PBS. WGBH Educational Foundation, 2006. Web. 10 May 2013.
<http://www.pbs.org/wgbh/pages/frontline/aids/interviews/kramer.html>. Transcript.

Sontag, Susan, and Susan Sontag. Illness as Metaphor ; And, AIDS and Its Metaphors.
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Stafford, Zach. "The 5 Kinds Of People You Will Meet On Grindr." Thought Catalog.
The Thought & Expression LLC, 11 July 2011. Web. 10 May 2013.
<http://thoughtcatalog.com/2011/the-5-kinds-of-people-you-will-meet-on-grindr/>.

Stevenson, Jack. "Bright Lights Film Journal :: Haunted Cinema: Movie Theaters of the
Dead (Full Article)." BLFJ Blog. N.p., n.d. Web. 10 May 2013.
<http://brightlightsfilm.com/70/70stevenson.php>.

The Historic Stonewall Inn. Digital image. The Stonewall in NYC. N.p., n.d. Web. 20
Apr. 2013. <http://www.thestonewallinnnyc.com/StonewallInnNYC/HISTORY.html>

"0topia, n.". 0EB 0nline. Naich 2u1S. 0xfoiu 0niveisity Piess. 2S Apiil 2u1S
<http:www.oeu.comviewEntiy22u784.ieuiiecteuFiom=0topia&>.




47
"AA<@=*L M N :7<":<; JFE6 MK

The vaiiety Theatei, as noteu in Samuel Belaney's, !%;# <=+1&# >#'? !%;# <=+1&#
@9+#, was a ciuising spot foi men in NYC's the East village, thiough the 6u's, 7u's,
anu 8u's.

}ack Stevenson, a contiibutoi foi Biight Lights Film }ouinal noteu the following.

A.0)* #*/#&%*- /"# 1+'%/)&%+;? B ,1C /"# ;)D%# C1, 0916%*- +0,%'#E')C*F !"%, 91,/#'
1 -))' 3%3/##* ;%*+/#,F G)H)'6 8);091%*#' )& 0#&"10, #D#* *)/%8#'I B/ C1, 9%J#
,/#00%*- %*/) 1 /%;# 810,+9#F

!"# &)); C1, 3%99#' C%/" /"# 8)*/%*+19 &+,/9%*-, 1*' 8&#1J%*-, )3 0#)09# )* /"# ;)D#F
B/ C1, ;)&# 9%J# 1 ;1,, "100#*%*- /"1* 1 ;)D%# ,8&##*%*-? 1*' %* 318/ B "1D# *)
&#8)99#8/%)* )3 /"# 3%9; 1/ 199K </#D#*,)*LFM































Fig. 1 Stevenson, Jack. Haunted Cinema. 1970's. Photograph. New York
City.

Fig. 2 Stevenson, Jack. Theater Floor plan. N.p.d. New York City.

48
"AA<@=*L O P AHQB*? ;<>:;88R "> :<";88R JFE6 MST OUK

Since the enu of Woilu Wai I men in both the city anu subuibs have fiequenteu, oi
ciuiseu, public iestiooms foi sex, often known as Teaiooms.

Lauu Bumphieys uiu a majoi ethnogiaphic stuuy of those fiequenting Teaiooms in
seveial majoi cities in the 0.S. fiom 196S-1968. (Bumphieys).




















.






















Fig. 13 Jones, William E. Tearoom. Los Angeles: 2nd Cannons,
2008. 18-19 Print.

Fig. 14 Figure 2.5 Methods: The Sociologist as Voyeur. 1967.
Photograph. Unspecified Tearoom. Tearoom Trade: A Study of
Homosexual Encounters in Public Places. London: Duckworth,
1970. 35. Print.
49
"AA<@=*L U N :7< 8;*V*@"B >:8@<9"BB *@@ Q"; JFE6MK

The oiiginal Stonewall Inn Bai was locateu in NYC's uieenwich village anu was
foimeily iun by the Nafia, who pioviueu a place foi homeless, tiansgenueis, uiag
queens, anu gays to go in ietuin foi highly inflateu cost of entiy anu uiinks.
The Stonewall Inn, in the late 196us, was uiviueu into two iooms (ieflecting its
oiiginal configuiation as two sepaiate builuings) anu the uecoi was minimal. The
uimly lit space was painteu black anu hau two makeshift woouen bais. Nost of the
inteiioi fittings of the bai weie uestioyeu on the moining of }une 28, 1969, the
police iaiueu the establishment (National Paik Seivice, 4).

The Stonewall iiots aie typically vieweu as the spaik of the gay libeiation movement
anu a tuining point in histoiy of gay libeiation movement (Aimstiong, 724).
































Fig. 8 Historic Stone Wall Inn. 1969. Photograph. New York
City. Thestonewallinnyc. Web.

Fig. 7 Carter, David. Layout of the Stone Wall Inn in 1969.
50
"AA<@=*L W P ;@" "> >?HBA:H;< JFE6 MXTMYTUOTK




A>%H)*+89#%8 18%' K>GNL %, 1 +H%=+%/)+, 31;%96 )3 91&-# H%)9)-%819 ;)9#8+9#, /"1/
0#&3)&; ;+9/%09# D%/19 &)9#, %* /"# 8)'%*-? '#8)'%*-? &#-+91/%)*? 1*' #O0&#,,%)* )3
-#*#,F









!"# -#*#/%8 ;1/#&%19 )3 PBQ K%/, -#*);#L %, 8);0),#' )3 &%H)*+89#%8 18%' K>GNL? 1 89),#
8)+,%* /) /"# '#)O6&%H)*+89#%8 18%' K7GNL /"1/ ;1J#, +0 "+;1* 1*' *#1&96 199 )/"#&
-#*);#, KPBQ >GNLFM





Fig. 16 EVRY RNA - IBISC. N.d. Photograph. Web.

51
"AA<@=*L ZP B";;C [;"R<; "> R"@ 8@ :7< >:;<<: JAE6MYT U\K


Laiiy Kiamei was boin }une 2S
th
, 19SS in Biiuge Poit, Connecticut, 0.S.

Kiamei wiote a play calleu !"# G)&;19 P#1&/? which piemieieu in New Yoik City in
198S. The play is laigely autobiogiaphical. It focuses on the AIBS ciisis in New Yoik
City between 1981 anu 1984 .

The following is fiom an inteiview on PBS' 5&)*/9%*#2 !"# N-# )3 NB7<F

BG!R>QBRSR>
AP)C 1*' S"#* 7%' T)+ 3%*' )+/ 6)+ C#&# PBQ 0),%/%D#UM

VN>>T
AB "1' 1 0916 )* 8199#' W+,/ <16 G)? C"%8" %, 1H)+/ >)* >#1-1* W&F 1*' R'
X)8" H#%*- -16 3%-+&#,? *)/ ')%*- 1*6/"%*-? 1*' B -)/ &+* ')C*? 1*' B "1' 1
H1' "#&*%1? 1*' /"# ')8/)& ,1%'? YB &#1996 /"%*J 6)+ ,")+9' /1J# 81&# )3 /"%,FY B
C#*/ %*/) /"# "),0%/19? 1*' %* /"# &)+/%*# H9))' /#,/, /"#6 '%,8)D#&#' /"1/ B
"1' "#01/%/%, @? 1*' 19,) /"#6 '%,8)D#&#' /"1/ B "1' PBQ K<%;)*#LFM

New Yoik Times Theatei Review foi the G)&;19 P#1&/F
Apiil 27
th
, 2u11,

AZ)&# /"1* 1 =+1&/#& )3 1 8#*/+&6 13/#& %/ 3%&,/ ,8)&8"#' G#C T)&J? A!"# G)&;19 P#1&/M
%, H&#1/"%*- 3%&# 1-1%*F !"# 01,,%)*1/#96 18/#' *#C @&)1'C16 0&)'+8/%)* )3 V1&&6
X&1;#&[, C1/#&,"#' '&1;1 3&); \]^_ ` 1* %*'%8/;#*/ )3 1 C)&9' +*C%99%*- /)
8)*3&)*/ /"# #0%'#;%8 /"1/ C)+9' 8);# /) H# J*)C* 1, NB7< ` H91,/, 6)+ 9%J# 1* )0#*?
)D#&,/)J#' 3+&*18#I

S"#* %/ 3%&,/ )0#*#' 1/ /"# :+H9%8 !"#1/#&? A!"# G)&;19 P#1&/M ,)+*'#' 9%J# 1 ")1&,#?
&#9#*/9#,, AW[188+,#aM ,8&#1;#' '%&#8/96 1/ 1 -199#&6 )3 H91;#EC)&/"6 %*'%D%'+19, 1*'
%*,/%/+/%)*, /"1/ %*89+'#' Z16)& R'C1&' BF X)8"? !"# G#C T)&J !%;#,? /"# N;#&%81*
;#'%819 #,/1H9%,";#*/ 1*' /"# ;1b)&%/6 )3 -16 ;#* %* G#C T)&J (%/6I

!"# 8&%,%, '#0%8/#' ,) D%D%'96 "#&# %, 31& 3&); #*'#'? 1, 81,#, )3 NB7< 8)*/%*+# /)
;+9/%096 %*/#&*1/%)*1996F N*' 9#,/ 6)+ 9#1D# /"%, 0916 /"%*J%*- /"1/ 6)+[D# "1' )*96 1
-&#1/ 81/"1&/%8 *%-"/ 1/ /"# /"#1/#&? 39%#&, 3&); Z&F X&1;#& 1&# H#%*- "1*'#' )+/ 13/#&
/"# ,")C KH6 Z&F X&1;#& "%;,#93 )* )881,%)*L? #O091%*%*- ")C %*8);09#/# /"# 3%-"/
1-1%*,/ NB7< &#;1%*, K@#* @&1*/9#6? GT !%;#,LFM





52
"AA<@=*L X N >:8@<9"BB *@@ "> >78< >:8;< JFE6 MYK

A few months aftei the iebellion that staiteu }une 28, 1969, The Stonewall Inn
closeu in late 1969.

The space has been occupieu as othei establishments incluuing

a bagel sanuwich shop
a Chinese iestauiant,

anu a shoe stoie.

Nany visitois anu iesiuents in the neighboihoou weie unawaie of the builuing's
histoiy oi its connection to the Stonewall iiots (Balbfingei).

































Fig. 1u Sarah N. Men's Vintage Brown Leather Shoes -
Size 12 or 13.. Photograph.Etsy.com. Web.

53

"AA<@=*L Y P >R"BB QB"?[ 8Q]<?: JFE6 O\T UMT UZT WUK

The iPhone Su was ieleaseu in 2uu8 anu featuieu Su cellulai netwoik anu assisteu
uPS capabilities (iPhone).


































Applications can be uevelopeu to combine multiple featuies such as

Texting

Photo shaiing

Fig. 12 Grindr Features. 2009. Photograph. Grindr.com. Web.

Fig. 11 Shadab, Navid. IPhone 3G. N.d. Photograph. Ilounge.com. Web.

54
uPS location shaiing

"AA<@=*L ^ P "AAB*?":*8@ "> B*_< >:CB< JFE6 UMK

"uiinui, which fiist launcheu in 2uu9, has exploueu into the laigest anu most
populai all-male location-baseu social netwoik out theie. With moie than 4 million
guys in 192 countiies aiounu the woilu -- anu appioximately 1u,uuu moie new
useis uownloauing the app eveiy uay -- you'll always finu a new uate, buuuy, oi
fiienu on uiinui."

"uiinui is quick, convenient, anu uiscieet. Anu it's as anonymous as you want it to
be. uiinui is a simple app that uses youi mobile uevice's location-baseu seivices to
show you the guys closest to you who aie also on uiinui. Bow much of youi info
they see is entiiely youi call."

"To get staiteu with uiinui, simply giab youi mobile uevice anu uownloau anu open
the app. Then, give youiself a piofile name (if you want), uploau a photo (also
optional, but we encouiage it), anu answei a couple of questions about youiself
(youi choice, too). Then, get out theie anu stait chatting, tiauing photos, anu
meeting up with the many men in youi aiea -- wheievei you may be
(uiinui, Leain Noie).







Figuie 1 Screen Caps of Various Applications. Personal
photograph by author. 2013.

Figuie 2 DJ. Grindr CEO
& Founder. 2010.
Photograph. Queercents.co
m. Web.

55

"AA<@=*L \ P "AAB*?":8@T V;*= 8_ Q8=C A";:> JFE6 UMTWMK

Bumphieys iuentifieu a uiveise socio-economic, iacial, anu ieligious backgiounu of those
who went to the Teaiooms . Be categoiizeu them into foui types.

:&'-1) Naiiieu men with low skill jobs, veiy few fiienus anu little euucation.

"3#/N>1G.'4) Nen who weie often maiiieu with high paying jobs, moueiate gioup of
fiienus anu a highei level of euucation completeu, college oi beyonu.

V'5) Nen who weie unmaiiieu, with low to moueiate level incomes, ielatively laige gioup
of fiienus anu a highei level of euucation, college level.

?4,$1% `.11+$) Nen who aie unmaiiieu, low to moueiate income, few fiienus anu a college
euucation (Bumphieys 112-11S).















Zach Staffoiu, a Chicago baseu ethnogiaphei iuentifieu the piofile application types.

R&6 "#-,31+) is most commonly filleu with a uesiie foi "masc" men who aie fit,
but wait until Sam.the faceless Auonis who will be "boieu" oi "chilling" in beu.

:01 :&'a141&) uue to being a uigital gypsy of soits, has a high piobability of being
closeteu anu maiiieu with chiluien.

:01 Q.$%: .uoesn't feel comfoitable showing his full bouy. |hej will sometimes
change peisonas in iegaius changing into Ni. Abuomen foi a few houis late at night.

:01 @, _'(1: will nevei.senu you a pic uue to.ieasons such as: he has an iTouch,
uoesn't have cameia accessibility, cameia is bioken, oi he neeus to be veiy uiscieet.

Fig. 1S </%99, 3&); /"# ')8+;#*/1&6, !#1&)); top left -miuule left. <8&##* 810/+&#, 3&); /"# <8&+33 1009%81/%)* miuule - lowei iight.
56
C,.& Q,$$. gets you incieuibly exciteu. oi teiiibly scaieu, because now he can
favoiite you anu see if you aie ciuising uiinui uuiing business houis (Staffoiu).
"AA<@=*L MS P ]8>b "> ]8>b <>:<Q"@ RHc8d JFE6 UONUZK

}os Esteban Nuoz boin 1967 in Bavana Cuba. Be is a fiequently citeu queei
theoiist, ait ciitique anu wiitei. Be is a piofessoi at the uiauuate Peifoimance
Stuuies Bepaitment at New Yoik 0niveisity.

This is an exceipt fiom a lettei I wiote to him.

A>#8#*/96 B &#1' uhosts of Public Sex )&%-%*1996 0+H9%,"#' %* Policing Public Sex 1*'
&#0+H9%,"#' %* 6)+& cdd] H))J Ciuising 0topia. !"# /#O/ C1, /"# ,1;# #O8#0/ 6)+ "1'
&#0918#' !)*6 W+,/[, 0")/), )3 D181*/ GT( !#1&));, /"1/ "# ;1'# %* \]]e C%/" 1
,#&%#, )3 W+,/[, -&133%/% 01%*/%*-,? C"%8" "# ;1'# %* GT( %* cddeF

S%/" W+,/[, *#C#& C)&J? 6)+ 3)8+, )* /"# 1#,/"#/%8, )3 "%, %;1-#, ,16%*-? f/"# ,/&1*-#
01,/#9, ') &#*'#& ,);#/"%*- 1J%* /) /"# -&133%/% /"1/ ;1&J, 8%/6 91*',810#,IC# 81*
8)*,%'#& /"#,# +&H1* ;1&J%*-, 1, /&18#,I/"&)+-" /"# ,+&09+, /"#6 &#0&#,#*/ /"#6
,##; /) /#99 +, ,);#/"%*- %, ;%,,%*-F K(&+%,%*- ./)0%1? Z+g)h? eeEe_L[

!"# /&18#, )3 18/+19 ,018#? )3 /"# 0+H9%8 &#,/&));, ,")C* %* /"# )&%-%*19 /#O/ H6 W+,/?
1&# -)*#? /"# ;#*/%)* )3 f/"# -"),/#' ;1/#&%19%/6 )3 /"# C)&JI3##9%*-K,L /"1/ "1+*/
-16 ;#* )* H)/" ,%'#, )3 1 -#*#&1/%)*19 '%D%'# /"1/ %, 3)&;#' H6 1*' /"&)+-" /"#
81/1,/&)0"# )3 NB7<[? "1D# H##* &#0918#' C%/" ,);#/"%*- ;)&# 8)*/#;0)&1&6 1*'
'#D)%' )3 %99*#,, K:)9%8%*- :+H9%8 <#O? ijeEijjLF

B "1D# =+)/#' 6)+& +0'1/#' D#&,%)* )3 /"%, ,#-;#*/ %* ;6 )C* C&%/%*- 1, 6)+ /19J /) 1*
#*/%/6 C%/"%* /"# %*/#&%)& )3 /"# H)'6F B +,#' /"# %;1-# 0%8/+&#' H)//); 9#3/ 1, 1 C16
/) %;1-# 0&)/#%* 8#99, 1*' >GN 1, "%-"96 1#,/"#/%8 ,8+90/+&#F
KP1&&%,? Z+g)h V#//#&L FM
















Fig. 18 \]]j version of Ghosts of Public Sex.
Policing Public Sex, 1996 photograph by
author. 2013.

Fig. 17 2009 Version of Ghosts of Public Sex,
Cruising Utopia photograph by author. 2013.

57
"AA<@=*L MM N A<;_8;R"@?< :7<":<; JFE6 UZK


A7+&%*- %/, 19;),/ ]d 6#1& "%,/)&6? /"# kQ1&%#/6l /"#1/#& C#*/ 3&); 3%&,/ &+* 3%9;, /)
1'+9/ ;)D%#, 1*' 3%*1996 /) )33E@&)1'C16 /"#1/#& KZ#9*%8JLFM









































Fig. S Seating Layout. 2000. Photograph. New
York , Gotickets.com.Web.

58
"AA<@=*L MO P >"R "> >"RH<B ;6 =<B"@C J FE6 UZNU\K

Samuel R. Belany was boin in 1942, Bailem NYC, 0niteu States. Be is an Afiican-
Ameiican authoi of science fictions, ciiticism anu essays on sexuality anu society.
The following is an exceipt fiom an inteiview, Rachel Kaauzi uhansah of the :1&%,
>#D%#C? conuucteu in summei of 2u11.

BG!R>QBRSR>
A7) 6)+ /"%*J )3 6)+&,#93 1, 1 -#*&# C&%/#&UM
7RVNGT
B /"%*J )3 ;6,#93 1, ,);#)*# C") /"%*J, 91&-#96 /"&)+-" C&%/%*-F !"+, B C&%/# ;)&#
/"1* ;),/ 0#)09#? 1*' B C&%/# %* ;1*6 '%33#&#*/ 3)&;,F B /"%*J )3 ;6,#93 1, /"# J%*' )3
0#&,)* C") C&%/#,? &1/"#& /"1* 1, )*# J%*' )3 C&%/#& )& 1*)/"#&F !"1/[, 1H)+/ /"#
89),#,/ B 8);# /) 81/#-)&%h%*- ;6,#93 1, )*# )& 1*)/"#& J%*' )3 1&/%,/F
BG!R>QBRSR>
AS"#* '%' 6)+ '#8%'# /"1/ ,#O C1, %;0)&/1*/ /) 6)+& C)&JUM
7RVNGT
A5)& ;6 C)&JU P#99? 3)& ;6 9%3#a N9/")+-" B '%'*[/ ,/1&/ /1J%*- 1'D1*/1-# )3 /"# 0+H9%8
,#O 1D1%91H9# /) -16 ;#* /%99 B C1, #%-"/##*? C%/" 1 ;)'#&1/#96 ,+88#,,3+9 /&%0 /) /"#
G#C N;,/#&'1; ;)D%# 01918# )* 5)&/6E,#8)*' </&##/F G) 9%-"/*%*- 391,"#'F G) H#99,
891*-#'F @+/ %/ C1, +,#3+9 /) 9#1&* /"1/ %/ C1, 1D1%91H9# 1*' 8)+9' ;1J# ;# 3##9 H#//#&
1H)+/ ,;199 ,/&#/8"#, )3 ;6 9%3#F
G)/ 1 3+99 '#81'# )*? C"#* B C1, /C#*/6E,#D#*? </)*#C199 "100#*#'F Z1*6 )3 /"#
0)9%/%819 8)*89+,%)*, /"1/ H#81;# -#*#&19%h#' C%/" </)*#C199`,+8" 1, 8);%*- )+/ )3
/"# 89),#/ /) #*' /"# *%-"/;1&# )3 -16 H918J;1%9`B[' 1&&%D#' 1/ %* /"#)&6 1/ #%-"/##*
)& *%*#/##*F @+/ B '%'*[/ ,/1&/ 18/%*- )* /"#; +*/%9 B ;)D#' /) <1* 5&1*8%,8) )* G#C
T#1&[, RD# \]j^ Km1"*,1"LFM




59
"AA<@=*L MUP :7< @<9 >:8@<9"BB Q"; JFE6 WOK

Although the inteiioi finishes have changeu, the open configuiation of the two
spaces echoes the configuiation of the Stonewall Inn. The westein section houses a
bai, which is calleu the Stonewall in iecognition of the histoiic Stonewall Inn
(National Paik Seivice, S)







































Fig. 11 Standing in Front of Stonewall Bar Spring 2013, New York City. Personal
iPhone photograph by author.

Fig. 12 McWeeney, Michael. A Man Stops in Front of the Stonewall Inn on
Christopher Street. 1997. Photograph. New York City. Silive.com. Statan Island
Advance. Web.

60
"AA<@=*L MW N :7<":<; "> C8VH;: >78A JFE6 WWK



A!"# Q1&%#/6 !"#1/#&? )* !"%&' ND#*+# *#1& \i/" </&##/F !"%, %, C"#&# !&1D%, @%8J9#
;##/, 6)+*- B&%, KW)'%# 5),/#&LFM











A!"# ,%/# %, *)C 1 *)*'#,8&%0/ "%-"E&%,# 1*' 1 6)-+&/ ,")0FM


















Fig. S Still from Taxi Driver. 1976. Photograph. New York City. Wnyc.com.
2010. Web.

Fig. 6 Site of foimei vaiiety Theatei. 2u1u. New Yoik City. Wynyc.com.
2u1u Web.
61










































62