In thinking about Kathy Acker and the pornographic as performative, I cite dialogue between teachers and students from Acker’s “Don Quixote” (p. 167-171) and turn towards personal favorite masturbatory practices in academia, consumption, and technology - expressing my own artistic, educational, and historic fetishes through front-end web development for line dancing (and rare/raw meat --- I've eaten elk, impala, rabbit, quail, chicken, buffalo, cow, aligator, probably horse, fish etc...). #post-humanism #postmodernism Similar to the teacher in the Aesthetic Theory course I attend for my MA program, the teacher in Acker’s dialogue asks the student to connect with their senses (physical as well as aesthetic taste). In questioning Acker's affect of fucking: the student comes harder when fucked in the ass rather than their cunt but they also hurt more. So does it feel good or bad? What is the difference? The dog insists the student (Don Quixote) doesn't know anything. The student insists they’re too young to know. What do you know? What do you not know? Will you ever know what you do not know? Does experience or age mean anything? Can an old dog learn new tricks? What is the capital, educational or titular difference between teacher and student (dom and sub; truth and fiction; smart and dumb; pleasure and pain; fantasy and reality; order and chaos (my high school taught a class called “Ordering Chaos”))? How does Acker’s pornographic dialogue between teacher and student deconstruct hierarchies of pleasure, learning and fetish? Where does sex belong in academia? (Foucault? Butler?) How can we learn from the pornographic? (Thinking of the erotics of learning as the fetishization of a subject through line dancing: how does pornographic teaching/learning appropriate a subject through fetishization?) How does the repetitiveness of Acker’s pornographic writing enforce pleasure through agonistic reiteration and contextualization? How is Acker’s pornographic writing performative in its elements of being discursive, reproductive, and referential? In thinking of Acker’s writing as creating anarchy in the hierarchies of academia and pleasure, how do reiterations of a pornographic fantasy become improvised or un-choreographed? (Catherine Deneuve? Forsythe?) How does something choreographed become improvised through amateurism? Can I reproduce Acker’s sense of a performative corporeal history through infinite scrolling of Acker’s pornographic dialogue between student and teacher alongside iterations of my own fetish for rare steak and line dancing? Does infinite meat or an endless dance communicate the pleasures of iteration? As someone who is not trained in dance, raised in New England, and identifies as genderqueer - will learning the “Country Girl Shuffle” help me pass as a "country girl?” What does it mean to be "country?” What makes people scared to eat raw meat? And who are these sexy country girls teaching me line dancing?

When I was in high school we called our teachers by their first name.

My boyfriend in college told me our teacher apologized to him because our school’s programs weren't academically challenging enough for him.