From "Sustenance: a Play for All Trans [] Borders

by the Electronic Disturbance Theatre

TRANSITION(song of my cells)

Gloria Anzaldúa writes, “We have a tradition of migration, a tradition of long walks. Today we are witnessing la migración de los pueblos mexicanos, the return odyssey to the historical/mythologicalAztlán” (1999 [1987]: 33). The historical? The mythological?Aztlán? It’s difficult to follow the soundings of that song. Today’s borders and circuits speak at “lower frequencies,” are “shot through with chips of Messianic time.” Might (O chondria!): imagine the chips’ transliteralization and you have “arrived”at the engines of a global positioning system—the transitivity of the Transborder Immigrant Tool. Too: when you outgrow that definition, look for the “trans-”of transcendental -isms, imperfect as overwoundpocketwatches, “off”-beat as subliminalities(alternate forms of energy which exceed Reason’s predetermined star maps). Pointedly past Waldenpondering, el otro lado de flâneur-floundering—drawa circle, now “irse por la tangente”—neither gray nor grey (nor black-and-white). Arco-irises: flight, a fight.Of fancy. This Bridge Called my Back, my heart, myhead, my cock, my cunt, my tunnel. Vision: You. Are.Crossing. Into. Me.