Hedwig and the Angry Itch
This evening, I saw the movie Hedwig and the Angry Itch. It was decent, with a lot of funny and clever lines. Before the movie, the group of us were mocking the Media Aesthetics course we took last year, a class that taught us more about obfuscation than about art and literary criticism. Thus, using many keywords from Media aesthetics, I would say that Hedwig spoke to the universal sense of otherness, consciously referenced musicians in modernity, paralleling the musicality of the film. Furthermore, director John Cameron Mitchell explicated the sexual frustration of transgender people by leaving conspicuously absent anything resembling normal sex.
Note: "conspicuously absent" is a very useful tool in artistic obfuscation. To use it properly, one must first give the artist interpretive charity, which means that the artist has such genius that even if the didn't express something overtly; one can assume he or she meant it implicitly. Then, one reasons that anything absent from the art is consciously omitted, since the genius artist surely considered every avenue of interpretation. So, anything not in the art is conspicuously absent, so one can justifiably talk about anything they want, as long as it's not actually in the artwork, and it will be valid artistic criticism.
Then, I went to an apartment party upstairs. The people who were hosting the party are Hispanic, so they played a lot of salsa music, and I learned how to salsa dance (kind of). Now, while I'm about to go to sleep, dance music is shaking the ceiling and strangers somehow wander in to my apartment.
I'm going to bed early (2:00AM) because I've decided to go to church tomorrow, for the first time in a long time. More on that later.