a.m., London, July 2015.
Terraforming is an erasure: in order for it to fulfil its function, it must eliminate the potentiality of a world. It is firstly destructive.
There is a type of extreme act that I equate with terraforming in the manner in which it wipes out, specifically, queer potentiality — acts that are not fully, or necessarily usefully, described by words such as “desperate” or “tragic”. They purge the individual (the terrain) of his or her queer potentiality, and are therefore violently anti-utopian: Valerie Solanas’ assassination attempt, Fred Herko’s defenestration, Kenneth Halliwell murdering Joe Orton, Andrew Cunanan, (John Wojtowicz’s heist — possibly), etc, etc. The homicide and suicide committed by Joe Meek can be thought of as terraforming in this sense. Here we see it set against the utopian personal account of the world he has created about him in his studio. (Notice also, the reference to drawing pins, a quotidian material recurrent in my work. More about their role as time machines here.)
What then of the terraformed world — the terrain post terraforming process? Does a kindred queerness leave us with sites of redemption? Bright planets shining down on us? (“Sister planets” to reference an Ursula K Le Guin line from The Dispossessed, also used in the film.)