{"id":16947,"date":"2024-10-09T17:28:09","date_gmt":"2024-10-09T17:28:09","guid":{"rendered":"https:\/\/informa.uprrp.edu\/?page_id=16947"},"modified":"2024-10-11T15:57:39","modified_gmt":"2024-10-11T15:57:39","slug":"gay-men-will-be-cruising-no-matter-what-transgressive-queer-pleasure-as-world-making-praxis-14-peer-reviewed-papers","status":"publish","type":"page","link":"https:\/\/informa.uprrp.edu\/?page_id=16947","title":{"rendered":"Gay Men Will Be Cruising No Matter What: Transgressive Queer Pleasure as World-Making Praxis 14 Peer Reviewed Papers"},"content":{"rendered":"\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Gay Men Will Be Cruising No Matter What: Transgressive Queer Pleasure as World-Making Praxis<\/span><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Title:<\/strong> Gay Men Will Be Cruising No Matter What: Transgressive Queer Pleasure as World-Making Praxis
Authors:<\/strong> Hugues Lefebvre-Morasse
Keywords<\/strong>: <\/strong>Cruising, Queer world-making, Design, Quebec, Critical spatial practice, Metronormativity<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

1\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ABSTRACT<\/span><\/p>

Gay men will be cruising no matter what, even during a global pandemic, when intimacy and social proximity are targeted as the main vectors of spread. Cruising\u2014a practice consisting of gay men gathering in public spaces for anonymous sex\u2014is transgressive in more than one way; it goes against the social, sexual ,and spatial norms constitutive of heteronormativity. It is a guilty pleasure that bears a transformative potential in this \u201cguiltiness\u201d. Drawing from Jos\u00e9 Esteban Mu\u00f1oz\u2019s notions of queer futurity, this paper suggests an understanding of cruising as a critical spatial practice that holds world-making capacities, creating \u201cqueer enclaves\u201d within urbanity. The main method employed in this project is a combination of documentation ( fieldwork) and representation (architectural drawings) taking the form of a critical inventory of cruising grounds around the province of Qu\u00e9bec, Canada. The research- by-design project drifts between and across disciplines, affecting the same queer world-making potentialities found in cruising<\/em><\/span><\/p>

\u00a0<\/em><\/span><\/p>

2 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 “LE GENDRE ID\u00c9AL”<\/span><\/p>

Guilt and shame are two distinct emotions, even if\u00a0 they\u00a0 seem\u00a0 interchangeable\u00a0 at\u00a0 first\u00a0 sight.1<\/sup> The latter appears to bear feelings more intense than the former. As Sally R. Munt writes in the introduction of her book Queer <\/em>Attachments, The Cultural Politics of Shame <\/em>shame is an internalized state of disgrace often caused by a previous sentiment of guilt, which \u00a0is \u00a0itself \u00a0a \u00a0by-product \u00a0of \u00a0a \u00a0perceived \u00a0or \u00a0real \u00a0wrongdoing 2<\/sup>\u00a0 Shame \u00a0is \u00a0then performed 3<\/sup> as our bodies are bending under a pressure that comes from\u00a0 within; heads\u00a0 and eyes are leaning towards the grounds, voices and muscles start trembling, tears and blood are taking over the cheeks. It took less than 5 seconds for Jo\u00ebl Legendre to enter that messy state in 2015, when he got on the set of late-night talk show P\u00e9n\u00e9lope<\/em>, trying to answer the simple question of the host: How are you doing Jo\u00ebl?<\/span><\/p>

Legendre was at the height of his career in 2015. The actor and director was everywhere\u00a0 to be seen in the small Qu\u00e9bec\u2019s show business industry, either as a successful radio host, Leonardo DiCaprio\u2019s French voice actor or as one of the most cherished comedians of the Bye-Bye<\/em>, a New Year\u2019s Eve sketch comedy special and standing tradition as one <\/em>of Qu\u00e9bec\u2019s most-watched TV programs for the past 50 years, where he was gracing us with his\u00a0 impeccable\u00a0 and\u00a0 campy impersonation of C\u00e9line Dion. Despite such fame, the interview of June 12th was framed as a difficult comeback for Legendre, after a three month-long vanishing from the public sphere. The carefully crafted image of a perfect ambassador for the modern homosexual\u2014coupled, father of three, discreet, respectable, vegetarian\u2014had cracked. Jo\u00ebl Legendre has been found guilty. Guilty of a crime deemed worthy of a front-page scandal by the journalists of the province\u2019s\u00a0 number\u00a0 one newspaper. Guilty, after being arrested by a plainclothes officer, of cruising<\/em>, another long-lasting tradition consisting of gay men gathering in undercover yet not so secret public spaces for anonymous sex encounters. Legendre\u2019s punishment for such display of queer pleasure and sexual deviance is still effective to this day, after six years of near- complete erasure of public life.<\/span><\/p>

For most queer people\u2014and more specifically gay men in this context\u2014shame and guilt are linked in intricate ways to more joyful feelings. The celebration of pride is a direct response to the shame pushed onto us by heteronormative society, an opportunity to respond in defiant and powerful manners. Guilt, for its part, can be linked to pleasure in a more concrete way: until 2019 in Canada, and unfortunately still to this day in some parts of the world, our sexuality has been directly attacked and criminalized in our laws, and in some ways, is still policed despite legislative changes. With this understanding, guilty pleasures not only refer to Netflix binge-watching or chocolate-eating frenzies, but also bring up a legal reality where our sexual well-being puts us at risk. Nonetheless, gay men have been cruising for what seems forever, through a multitude of adversity, through public shaming and through at least two deadly virus spreads.<\/span><\/p>

Like Tim Dean reminds us, citing Gayle Rubin, in his book Unlimited Intimacy: Reflections on the Subculture of Barebacking<\/em>, when the time comes to study sexual behaviours that seem deviant to some, we should not judge the apparent morality or immorality of these behaviours, as long consent between participants is respected. We should instead understand them, free of judgment, through the lens of cultural variations. My work here on cruising\u2014and specifically as my research was conducted in the context of the SARS-<\/span><\/p>

CoV-2 pandemic\u2014falls under this kind of research that Dean and Rubin write about. Therefore, I am not trying to advocate for, or justify having sex with strangers when intimacy, proximity and sexuality can lead to an epidemiologic surge. However, as a\u00a0 queer individual that has tested positive for both HIV and COVID-19 at some point in their life, I am aware that our ethic of care is torn between different interpretations of the situation. On one side, our history has taught us that, facing a deadly virus, we should be responsible for our health and that of vulnerable others, fostering a collective response that goes hand-in-hand with the agency of individuals. Nonetheless, that same agency is also the root of a feeling of suspicion towards a ubiquitous epidemiologic discourse reinforcing the biopower of the state and its call for community surveillance and policing. Rather than pushing abstinence injunctions disconnected from queer realities, we could prefer strategies taking in consideration the knowledge on harm reduction developed\u00a0 since the rise of the AIDS crisis. It is then with this ambiguous feeling that I have approached cruising in this research, as I know we all needed <\/em>to make everything within our reach to stop the spread of the virus. But one cannot disregard the fact that men are having casual sex, before, during and after a pandemic, staying true to the transgressive nature of cruising; a transgression of regular sexual norms and legislation, as well as one of sanitary measures that are currently in place in most countries. It is in its capacity as a practice that follows these fine lines, bringing to light what separates the acceptable from the illegal, that cruising has always been transformative. And if one could argue that this form of spatial embodiment is rather perverse, as in deviant, I instead see cruising as a form of loitering, or fl\u00e2nage<\/em>, linked to the prior etymological sense of perversion, which\u00a0 is a reversal of order, to turn things around. It is a performance of otherness\u00a0 and openness that \u201cperverts\u201d the constraints of a heteronormative spatial order, whether the world is under an epidemiologic siege or not.<\/span><\/p>

I have travelled around Qu\u00e9bec doing fieldwork for most of summer 2020, being immensely grateful for a flattened curve of COVID-19 cases that allowed me to visit cruising grounds in various regional towns without breaking lockdown restrictions. Still, the presence of active cruisers during a full-blown global pandemic was unsure, and the usefulness of my fieldwork possibly compromised. However, as I soon realized, the apparent ongoing activities proved what had been said in media and activist circles since the first lockdown: gay men learned the hard way to negotiate risky sexual behaviours\u00a0 and to reimagine intimacy in times of social disconnections, and they will be cruising no matter what. In this paper, I will demonstrate how the collective agency surrounding sex and harm reduction during a global pandemic can lead to a new understanding of\u00a0 cruising. I will also try to show how cruising\u2014as a critical spatial practice\u2014is turning what can be understood as shameful and deviant behaviours into a quotidian practice of queer world-making. A praxis where the guilty nature of our pleasures is a form of critique of the heteronormative society shaping our urbanities and who inhabit them. I\u00a0 will also try to demonstrate how it is possible, from a design perspective, to investigate cruising practices and spaces from a critical point of view, where the documentation of\u00a0 the fieldwork and the representation of the object of study is in a way analogous to the transgressive nature of cruising: a design methodology that aspires to the same queer world-making potentiality.
<\/span><\/p>

\u00a0<\/p>

3\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ENVIRONMENTAL DESIGN AND ITS QUEER WORLD-MAKING POTENTIAL<\/span><\/p>

Like Queer Theory itself, sex, gender and space emerged as an area of studies in the\u00a0 1990s with the publication of seminal works like Beatriz Colomina\u2019s Sexuality & Space <\/em>Doreen Massey\u2019s Space, Place, and Gender<\/em>, and David Bell and Gill Valentine\u2019s Mapping Desire <\/em>This latter book paved the way for the whole field of geography of sexualities and the study of spaces that are now understood as being always shaped by sexual norms enforced through, and by, lived environments. Cruising became a subject of choice to several researchers who wanted to explore the links between sexuality and public space 4 and \u201csex in public\u201d became a concept that expanded beyond penetrative sexual acts, but rather a\u00a0 set\u00a0 of\u00a0 relations and\u00a0 norms defining what\u00a0 is\u00a0 acceptable or\u00a0 not outside domestic settings 5<\/sup>\u00a0 This point of view\u00a0 also echoed to\u00a0 the field of architecture, or more\u00a0 broadly to research focusing on the spatiality and materiality of gendered spaces, queer spaces, transgender architectonic sand sex venues.6<\/sup><\/span><\/p>

If we are used to the study of queer spaces, I prefer to humbly develop a queer study of space. Rather than investigating the sociological and anthropological needs, reasons, or motives behind queer spaces, I would rather try to understand what is queer in the place- making of cruising grounds. I try to grasp on the remaining spatial qualities of this type\u00a0 of inhabitation of public spaces, almost as if queerness and sexuality are themselves physical materials of the built environment.<\/span><\/p>

In the opening lines of the chapter \u201cGhost of Public Sex, Utopian longings, Queer Memories\u201d in his book Cruising <\/em>Utopia, The Then and There of Queer Futurity<\/em>, Jos\u00e9 Esteban Mu\u00f1oz cites Douglas Crimp\u2019s 1989 conference \u201cMourning and Militancy\u201d. As Crimp talks about a lost sexual culture to the hands of the AIDS crisis\u2014a culture of \u201csexual possibilities\u201d consisting of public sex, a variety of sex venues and rather hardcore, or non-reproductive, sex practices\u2014Mu\u00f1oz starts to develop the concept of \u201cqueer sex utopia\u201d : “Crimp\u2019s writing stands as a testimony to a queer lifeworld in which the transformative potential of queer sex and public manifestation of such sexuality were\u00a0 both a respite from the abjection of homosexuality and a reformatting of that very abjection. The spaces and acts he lists represent signs, or ideals, that have been degraded and rendered abject within heteronormativity. Crimp\u2019s essay reclaims these terms, ideas, and remembrances and pushes them onto a list that includes such timeless values as fatherland and liberty. Crimp\u2019s essay thus bears witness to a queer sex utopia.7<\/sup><\/span><\/p>

This utopia, or queer futurity, carries a transformative power that resides in its \u201ccritique\u00a0 of the present. \u201dIt also \u201clets us imagine a space outside of heteronormativity\u201d and\u201c permits us to conceptualize new worlds and realities that are not irrevocably constrained by the HIV\/AIDS pandemic and institutionalized state homophobia,8<\/sup> to which we could now add the COVID-19 pandemic as well. The spaces that are \u201ccarved out\u201d from the heteronormative world by public sex cultures are not only metaphorical, but\u00a0 rather\u00a0 actual, urban spaces within the public realm. Cruising takes place in bathrooms and parks as well as in public sex venues such as gay bars and bathhouses that explicitly advertise their presence by ads, and suggestively by facades with boarded-up windows, concealing their existence from the heterosexual-by-default outside world. These spaces, their production, and their inhabitation is what interests me here. Public-sex-practices-as- critique bear place- and world-making capacities and should be of interest to a field of study like environmental design, because world-making has always been one of the primary motivations of designers.<\/span><\/p>

\u00a0<\/p>

4\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DOCUMENTATION AND REPRESENTATION; THE INVENTORY AS A METHOD<\/span><\/p>

Environmental design is not quite a discipline, but rather a transversal field of study. In his thesis on the emergence of environmental design on American campuses in the 1950s, Jonathan Lachance reminds us that the early actors behind this new field were concerned about\u00a0 a\u00a0 holistic\u00a0 approach\u00a0 to\u00a0 design.9<\/sup>\u00a0\u00a0\u00a0\u00a0 Breaking\u00a0 down\u00a0 silos\u00a0\u00a0 <\/em>between\u00a0\u00a0 traditional \u00a0and professionally-driven scholarships fashioned around scales, environmental design would approach its various objects of study as a whole design science, but also from the perspective of applied and social sciences. 10<\/sup> As I myself am studying in an environmental design program, I see this transdisciplinarity as an opportunity to approach design through the lens of queer studies, where similar epistemological concerns are recurring since Teresa de Laurent is first coined the term \u201cQueer Theory\u201d in 1990.11<\/sup>\u00a0 \u00a0In his 1998 book Female Masculinities<\/em>, Jack Halberstam wrote about what he calls a \u201cscavenger methodology\u201d, where the queer studies researcher gathers a combination of methods borrowed from various fields and \u201crefuses the academic compulsion towards disciplinary coherence.\u201d 12<\/sup> The methodology is also efficient when studying \u201cscraps\u201d and \u201cgaps\u201d left by traditional disciplines, thus its scavenger name. I believe this methodological approach can inform a transversal practice of environmental design where the \u201cscraps\u201d and \u201cgaps\u201d are found in-between traditional scales of design. The gathering of various methods across scales and disciplines makes possible the observation of existing spatial phenomena and situates the design project inside the realm of Mu\u00f1oz\u2019s \u201ccritique of the present\u201d rather than the usual production of a new industrial good or built environment.<\/span><\/p>

Therefore, I would like to propose that environmental design can be understood as a\u00a0 queer field of studies, as it 1) sees environmental questions as transdisciplinary problems; 2) bears world-making potential through the production, investigation and critique of spaces; and 3) it scavenges scraps and gaps from peripheral disciplines to create a set of methodological tools proper to its transversal epistemology. This latter part calls for the creation of a \u201cdesign culture.13<\/sup> That includes artefacts resulting from methods such as ethnographic fieldwork and writings, photography and cinematography, architectural drawings and models, graphic design and visual representations, editorial and curatorial practices, and so on. It is a culture that allows us to document the lived environments, the design goods, and the spatial phenomena we study through various forms that now fall under a broader understanding of what constitutes design. They are acts of\u00a0 documentation whose scope is the present, but they still propose a projection toward a possible future. Artefacts turn into projections when they are gathered, assembled, and reinterpreted to form what one could call a collection, an atlas, or an inventory; and when they get filtered through the subjectivity of the researcher, thus becoming a\u00a0 design project. In the introduction of Inventories: Documentation as a design project<\/em>, proceedings of the conference Inventaires Urbains\/Urbans Inventories <\/em>held in Montr\u00e9al in 2019, Thomas-Bernard Kenniff and Carole L\u00e9vesque describe what they call the inventory method as an interlacing of two trajectories, the trajectory of documentation and the trajectory of representation: “The inventory is thus defined according to two main trajectories: the act of documenting, observing and following the traces left by the object of our research; and the act of inscribing these traces, organizing them, making them intelligible and giving them meaning. Through these two trajectories, the inventory merges with two dimensions of the design project, namely the survey, or observation drawing, and the prospective drawing in which drawing and intent are inseparable; or, in other words, the drawing of the inventory and the design of the invention. To practice research research-by-design through obsessive documentation, exploratory representations, prospective imaginations, and iterative questioning, is to make an inventory of one’s subject.”14<\/sup><\/span><\/p>

The propositional and political meaning of this method is a form of world-making embedded in design culture. Cruising is utopian, in the sense of Mu\u00f1oz, by being \u201cguilty\u201d of the transgression of social, spatial, and sanitary norms. It is a process of space production that requires an analogous critical analysis that shares this world-making ability. Making a critical inventory of Qu\u00e9bec\u2019s cruising grounds appears as the adequate method of investigation for an environmental design project that has the\u00a0 capacity of\u00a0 being as queer as its object of study. Documenting and representing cruising can not only inform us of its transformative potential, but could also replicate and expand it, thus entering the realm of queer futurity through space (re)production.<\/span><\/p>

\u00a0<\/p>

5\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 CRUISING QU\u00c9BEC, QU\u00c9BEC’S CRUSING GROUNDS<\/span><\/p>

It is not every cruising story that makes national news like Legendre\u2019s. Nonetheless, cruising seems to be a recurring theme for local newspapers. I have counted and collected over 200 articles that have been written on the subject in Qu\u00e9bec\u2019s newspapers since 2010.15<\/sup> \u00a0If we exclude the peak of 2015 centering on Legendre\u2019s case, there are around 26 cruising stories, covering 15 cities across the\u00a0 province. If\u00a0 these short articles are\u00a0 most of the time found in \u201cmiscellaneous\u201d and \u201ccrimes\u201d columns, there were times when cruising became the main subject for local media: situations involving gay men having sex outdoor were framed as a crisis, making the headlines for a couple weeks during the summer.16<\/sup><\/span><\/p>

I am not surprised to see cruising discourse being shaped through the lenses of moral panic 17<\/sup> but I am instead interested in the fact that cruising seems to be a\u00a0 practice discussed constantly across the province. It appears to be an issue that is not restricted to dense urban areas where there is a concentration of LGBTQ+ visibility, like Montreal and its Village. This fact disrupts the traditional and preconceived notion of metronormativity, a stereotype that often frames queer experiences as a physical and temporal journey\u00a0 from difficult teen years spent in the conservative countryside to a fulfilling, out, and adult life in the liberal environment of metropolises.18<\/sup><\/span><\/p>

If in part true, this \u201cit gets better\u201d narrative presents bigger cities as \u201cfinal destinations,\u201d a clich\u00e9 erasing the ongoing struggles and fights of the queer community in a similar fashion that gay-marriage-as-the-ultimate-goal does. It also erases a variety of queer\u00a0 ways of life that are not set in urban environments where a thriving LBGTQ+ community can be found. This is present in the way Qu\u00e9bec\u2019s regional media covers cruising stories, as the possibility of a community of gay men in need of spaces of identity representation in smaller towns seems impossible to the majority. Therefore, those caught cruising by plainclothes officers are portrayed as exhibitionist lone wolves or as \u201cthe same 12 to 15 individuals\u201d that \u201care not homosexuals\u201d but rather \u201csick\u201d people.19<\/sup> This situation renews the need to study queer realities outside major urban environments, as my research tries to do, focusing on cruising in regional towns, but also on how they are related to one another and to the big city. These smaller urbanities lack queer representation\u00a0 and\u00a0 spaces, where no gay bars can be found and a community organization offering sexual\u00a0 health and HIV\/AIDS services, when there is one, is the only place where LBGTQ+ identities are somewhat visible. I believe that, in this context, the cruising ground holds a social importance greater than being a simple space for hedonistic and sexual practices, when, in the absence of more adequate places, meeting men outdoor is one of the few forms of face-to-face socialization available to a non-metropolitan, and often closeted, queer demographic.\u201c<\/span><\/p>

Before, you could go downtown, there was a place. At least you knew you were free of being bothered by anyone there. There\u2019s no place in Sherbrooke anymore, you gotta go to Montreal or Qu\u00e9bec City. Here, in this wood, or in Victoria Park, it\u2019s the only places. Ideally, it would be to have regulated places, you go there, you pay, you have peace of mind. Do you think a married man like me would take the risk of coming here then?”<\/span>
My fieldwork took place in 11 cruising sites of 6 regional towns with a population average \u00a0of 87,730. Rather than a study of the behaviours of cruisers, I aimed to understand the phenomenon through its spatialization, trying to document and represent it with the hope of revealing a type of often overlooked critical spatial practice.20<\/sup> I was however challenged in my attempt to travel around Qu\u00e9bec by the\u00a0 lockdown\u00a0 restrictions that\u00a0 made me revaluate my fieldwork. Self-isolating in my room, I had to reconsider how to\u00a0 perform\u00a0 my research and my own spatial practice of the cruising ground. I first thought I would challenge metronormativity by flipping its script and go from a metropolitan area to the countryside. But then, I had the feeling that travel-bans between regions were, in a way, reinforcing metronormativity\u2019s myth and my own positioning, both physical and ideological: I am trapped in Montreal. My\u00a0 will to\u00a0 go\u00a0 \u201cback home\u201d\u00a0 is\u00a0 hampered by\u00a0 this\u00a0 new inter-regional dynamic, almost like the world is sending me a message: once enrolled\u00a0\u00a0\u00a0 in the big\u00a0 city\u2019s\u00a0 queer scene, one\u00a0 cannot go\u00a0 back to\u00a0 the\u00a0 conservative country that saw them grew up. Or at least, not without toning down any of their queer ideals or embodiment, as if queerness, like a virus, was something contagious that needed to be contained to certain hot spots. I soon realise, however, that the\u00a0 way\u00a0 cruising areas\u00a0 have been\u00a0\u00a0 mapped\u00a0\u00a0 by\u00a0\u00a0\u00a0 the\u00a0\u00a0\u00a0 gay\u00a0\u00a0\u00a0 community\u00a0\u00a0 since\u00a0\u00a0 the\u00a0\u00a0\u00a0 1960\u2019s\u00a0\u00a0\u00a0 was\u00a0\u00a0\u00a0 already challenging metronormativity. If it was taking the form of travel guides back then.21<\/sup> \u00a0internet is now an infrastructure that facilitates cruising, despite some claims saying might be killing it.22<\/sup> Cruising thousands of miles within seconds on my computer, I had to investigate my sites through the lenses of GAFAs 23<\/sup> and geolocative dating-apps designed for gay men. This situation forced me to re-evaluate the landscape of cruising possibilities, reflecting on\u00a0 how this distributed field of queer enclaves is in fact a network; spaces that are connected by their shared utopian qualities, but also through digital environments. The physical distance becomes futile as it is practically non-existent through digital proximity. Still, this proximity is not synonymous to belonging. Brick-and-mortar, or rather flesh-and- bone, queerness is still underrepresented in many places and therefore the need remains present for\u00a0 spaces which challenge the\u00a0 spatial order\u00a0 of\u00a0 heteronormativity. \u00a0Nonetheless, these digital connections do not work in the same manner as metronormativity: they are not one-way relations, just like the metropolis is not a sinkhole which drains anything queer out of the territory. It became increasingly apparent that these connections feed all their ends, and the countryside is not subordinated anymore. There are connexions that\u00a0 can help sustain queer spaces in remote locations, and someone planning a trip to these pastoral destinations could even choose their itinerary based on a promise of something (somewhere) queer on arrival.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Cartography of Flows Drawing by the author Base-map retrieved from https:\/\/tangrams.github.io\/heightmapper\/ \u00a9 OpenStreetMap contributors<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

As mentioned earlier, the objective of an inventory of Qu\u00e9bec\u2019s cruising grounds is to document and represent the practices taking place there in a way that is\u00a0 analogous to their critical qualities, then bearing similar queer world-making potentialities. The \u201crepresentation trajectory\u201d on my project might exemplify this quite explicitly: drawings and \u00a0writings \u00a0are \u00a0reconstructions \u00a0of \u00a0the \u00a0spaces \u00a0I \u00a0study \u00a0where \u00a0I \u00a0try \u00a0to \u00a0translate \u00a0the <\/span>transgression\u00a0 I\u00a0 witnessed.24<\/sup>\u00a0 However,\u00a0 I\u00a0 believe\u00a0 the\u00a0 documentation\u00a0 trajectory,\u00a0 or \u00a0the <\/span>performance of fieldwork, should also be a form of analogy to the critical spatial practice that is cruising. If traditional techniques of field recordings are useful (photography, field notes, hand-drawn maps, and sketches), an embodiment of the cruiser\u2019s posture in the city seemed necessary; it acts as a lens through which it is possible to see regional town urbanities outside of heteronormative understandings.<\/span><\/p>

In his final chapter of Unlimited Intimacy<\/em>, Tim Dean calls for an ethic of cruising, \u201ccruising as a way of life\u201das he says. He argues that cruising is a state of openness to the otherness of the strangers we meet for sex, people that could be loved \u201cyet remain strangers\u201d in the end.25<\/sup> Building on Samuel Delany\u2019s Time Square Red, Time Square Blue, <\/em>and its memory work on the disappearing public sex venues of Manhattan, Dean advocates for a form of cruising that enables contacts through different populations and demographics of closeted and out gay men. It shapes a type of social interaction that brings people together despite their differences, which cultivates a positive relation towards the Other; a type of socialization that is, in a way, ethical.26<\/sup> By saying that\u00a0 cruising can therefore become \u201ca way of life,\u201d we could argue that Dean establishes cruising as a method. He further develops on this method as being also spatial and not only interpersonal. Drawing from Allan B\u00e9rub\u00e9, John Paul Ricco, and the notion of \u201cminor architecture\u201d that\u00a0 characterize\u00a0 gay\u00a0 bathhouses, Dean\u00a0 portrays\u00a0 the\u00a0 cruiser\u00a0 as \u00a0a <\/span>derivative\u00a0 of\u00a0 Baudelaire\u2019s\u00a0 \u201cfl\u00e2neur. <\/em>27<\/sup>\u00a0\u00a0\u00a0\u00a0 The\u00a0 fl\u00e2neur<\/em>-cruiser\u00a0 then\u00a0 strolls\u00a0\u00a0 the\u00a0\u00a0 maze-like <\/span>environments of public sex venues and cruising grounds with an \u201caimless aim 28 echoing the openness of the sex encounters this loitering can lead to.<\/span><\/p>

I am a fl\u00e2neur <\/em>then, a fl\u00e2neur<\/em>-researcher drifting on cruising grounds with the same aimlessness and openness that characterize cruising as a critical spatial practice. An unorganized, unplanned choreography that I have nonetheless rehearsed and performed many times. I narrate my experience of the sites through writings and drawings, hoping\u00a0 to offer a peek through the aforementioned \u201ccruiser\u2019s lens\u201d. The following case studies are exercises portraying three of the sites I have visited. Three reflection and recollection of my cruising\u2019s spatial experiences as I am quarantined in my Montreal apartment, as I am returning to my childhood town where I unpack familial traumas, and as I am visiting a region I have never been to before, but where cruising is making the headlines of local\u00a0 newspapers. Three sites where men are meeting despite sanitary restrictions, in real life\u00a0\u00a0 or through my webcam. Three sites where intimacy and belonging are reconfigured through dissidence. Three sites queering the apparent banality\u00a0 of\u00a0 the\u00a0 urban environments they are set in. Three sites documented and represented with the hope of expanding their world-making potential.<\/span><\/p>

\u00a0<\/p>

6\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 HOCHELAGA<\/span><\/p>

Former Canadian Prime Minister Pierre-Elliott Trudeau said in 1969, as\u00a0 he decriminalized anal sex between two consenting adults, that \u201cthe State has no place in the bedrooms of the nation.29<\/sup> The first site of my fieldwork is my bedroom, along my house and my neighbourhood; the only spaces that were physically accessible to me during the first lockdown of 2020. It is quarantined that I explored the relation between my own position in a metropolis and the remote sites I had identified as potential fieldwork locations. They appeared to me through websites and apps, offering different ways\u00a0 to\u00a0 step into spaces that are in fact only representations of spaces. These representations\u00a0 were at times either contradictory or complementary. A dichotomy indeed flagrant as representations provided by GAFAs \u2014and my use of it, almost like a stalker\u2014felt like something I could call a \u201csurveillance gaze.30<\/sup> On the other hand, community-generated websites, the ones that mimic old travel guides with their listing of cruising grounds, offered me an insider\u2019s perspective of a community I am also part of. To me, this dynamic is recreating the tension and conflict found on cruising grounds. If cruising is characterized by the tactical and critical practice of its actors, the practice itself, and spaces where it takes place, are also defined by apparatuses and strategies of surveillance that try to control or refrain dissident sexual behaviors. These two-step glimpses of inaccessible spaces, offered through (strategic) top-down GAFAs and (tactical) bottom-up web platforms, are giving a complexified comprehension of otherwise banal environments, as most cruising grounds I have identified are either left-over spaces, wastelands or open areas bordering the city. Experiencing all of this from behind the screen of my phone or computer, I also examined how cruising, in its most primary qualities that are anonymous and instantaneous sex, was being reframed by the pandemic through digital interactions such as webcam group-sex. My \u201cfieldwork\u201d as well as my own sexuality, now mediated by technology, transformed the reading of my immediate environment. My room became at the same time my personal space, my workspace, and the sum of all, as well as its own cruising grounds. A contradiction between social distancing and digital proximity that blurs the distinction between private and public. Something almost foreseen by Lauren Berlant and Michael Warner when they claimed, in their 1998 essay Public Sex<\/em>, that \u201cthere is nothing more public than privacy.31<\/sup><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Considerations For the Bedrooms of the Nation Drawing by the author<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ARTHABASKA<\/span><\/p>

I called this case study Ribonucleic <\/em>Acid Virus <\/em>because this molecular configuration is another thing that SARS-CoV-2 and HIV have in common. I was interested in how cruising has been affected by previous pandemics after encountering the work of my friend and artist Jaime Ross, according to whom cruising areas should be granted landmark status for the historic role they played in the making of cities.32<\/sup> This bold statement reminded me of Tim Dean\u2019s analysis of cruising in porn, specifically the work of director Paul Morris and pornstar Dawson who are famous for their representation of explicit barebacking, and implicit seroconversion. Focusing on the second film of the\u00a0 duo, Meat Rack <\/em>(2005), Dean is describing a scene taking place in said \u201cmeat rack,\u201d a popular cruising site in Fire Island, the popular gay seaside retreat near New York.<\/span><\/p>

“As he walks away, with the camera focused on his cum-filled butt, Dawson passes another slender tree which bears the legend \u201cSAFE SEX PINES .\u201d […] By juxtaposing shots of Dawson’s anal breeding with shots of traces left in the \u201cmeat rack\u201d some years prior, this scene evokes not only the presence of men who cruised the pines and might return next summer but also the ghosts of those lost to AIDS who\u00a0 will\u00a0 never\u00a0 return\u00a0 in\u00a0 person.\u00a0 Evoking spectral presence in this way creates a sense of\u00a0 history,\u00a0 suggesting\u00a0 that\u00a0 the wooded area in which sex\u00a0 occurs constitutes not\u00a0 simply a\u00a0 bucolic natural setting but\u00a0 also\u00a0 an intensely historical landscape, a place where memories of previous generations linger.33<\/sup><\/span><\/p>

To me, this scene and Dean\u2019s description are the spatialization, a setting in space, of the filiation bond Dean talks about throughout Unlimited Intimacy<\/em>. It is somewhat commonplace to state that queer people have reimagined kinship outside family bloodline, but according to Dean, gay men who chose to bareback, and purposefully shared the risk of HIV transmission, have recreated a set of relations based on blood and semen, forever perverting the sense of belonging.34<\/sup> It is this sense of belonging I explore through the drawing and writing of Arthabaska\u2019s cruising ground, how these inter- personal and inter-generational relations take place in public spaces. I go back to the town that saw me grow up, where my kinship, my lineage and my heritage lie, and where my bloodline and \u201ccumline\u201d 35<\/sup> elders meet. I try to grasp whatever is left of a belonging feeling towards a region I flew away from, and I wonder if the queerness lingering in the town\u2019s parks and in my own childhood memories could revived each other, revealing the formative role of cruising, even when it all feels so thin.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Ribonucleic Acid Virus Aerial pictures by Jean-Marie Cossette (1990), Point du jour aviation limit\u00e9e Fund, Biblioth\u00e8que et Archives Nationales du Qu\u00e9bec. Archival picture made accessible by Soci\u00e9t\u00e9 d\u2019histoire de Princeville. Drawing and other pictures by the author<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

8\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 SAGUENAY<\/span><\/p>

I had never visited the shores of Saint-Jean Lake and Saguenay River before summer of 2020. I had identified this region for two cruising sites that were discussed in the media around 2013 and 2014: Chicoutimi\u2019s Hill Park and the remains of former Saint-Jean- Vianney village. I did not know however, since my survey of newspapers ended in December 2019, that I arrived exactly while a moral panic was taking over the media. \u201cEnough With the Peckers \u201d is the slogan of city councillor Julie Dufour\u2019s campaign against cruising in Vianney.36<\/sup> This place, that is \u201calmost a legend\u05a8\u201d for its cruising, is now under massive surveillance; cameras might be installed and the local police is deploying \u201ccreative strategies\u201d to patrol the area.37<\/sup> Indeed, this heavy policing is made clear to the public as two police cruisers are stationed in front of the old church\u2019s remains on the picture accompanying an article published on July 15th38<\/sup> And by police cruisers, I mean police cars, but it is also a term suiting pretty well to the plainclothes officer who hailed me on Grindr while I was doing fieldwork. I was restricted from having sex during my fieldwork by my University for ethical reasons. I was nonetheless there, strolling around in a posture I had intended to echo cruising for methodological reasons. A posture however making my intentions unclear for other men I happened to cross. When my phone vibrated and I saw the fire emoji in my notifications, I engaged with this profile showing a picture of a modified Honda Civic the same color as the one I saw parked earlier. I was not planning on having sex or trading nudes, but I was hoping perhaps for some storytelling, or information about the region\u2019s cruising landscape. Indeed, the night before, I was warned about the ongoing situation in Vianney after a flirty guy asked me what I was doing so far away from home. I will never know the intentions of the Honda Civic guy. I will never know either if he was a real police officer or if he was only a cruiser eroticizing a type of danger that seems inherent to cruising. He might have been both, but after I hailed him back on the contradiction of his actions, to which he responded that I am \u201cnot his type,\u201d he blocked me and disappeared from the grid of headless torsos spread across the screen of my phone.39<\/sup><\/span><\/p>

This encounter had underlined quite explicitly the tension between the critical spatial practice that is cruising and the strategic surveillance the maintaining of heteronormative norms calls for. Two types of actions that are co-constructing the site itself were they take place. My position as a researcher on the field is informed by this tension on a highly guarded ground: which side am I on? Is my practice on the site still a reenactment of the performance of cruising, when instead of a hunt for casual sex I poach for traces of past cruising activities? Or is my survey of cruising grounds more of a forensic strategy , almost like the sites are crime scenes? These questions are central in my work, as I am mapping and revealing spaces that are intrinsically underground. I believe in the end that I cannot escape the \u201csurveillance gaze\u201d laid on cruising, whether mine or that of the society, and thus it must be included in my representation of the practice and its spaces. I also believe that, in times when everyone and every space are under the surveillance of a sanitary discourse, turning the whole country into a cruising ground and everybody into\u00a0\u00a0 a cruiser, it is imperative to take a closer look at how communities have been dealing with such a weight of constant control, vigilance and guilt.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

9\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 CONCLUSION<\/span><\/p>

Times of crisis are usually times of backlash and restriction of human rights and freedom;\u00a0\u00a0 we have all seen some of our freedoms restricted at the peak of the COVID-19 pandemic.\u00a0\u00a0\u00a0\u00a0\u00a0 In a country like Canada, this took the form of lockdowns and curfews. If we all suffered\u00a0\u00a0 from lack of socialization, I think some\u00a0 queer people suffered from\u00a0 it\u00a0 in\u00a0 unique\u00a0 ways. Most of us form our kinships, our friendships and our\u00a0 families\u00a0 in\u00a0 manners\u00a0 that\u00a0 are unsuited to the reinforced heterosexuality put forward by the State through its sanitary restrictions. \u201cMonogamy is preferable now\u201d,\u00a0 said\u00a0 Qu\u00e9bec\u2019s Director\u00a0 of\u00a0 Public Health\u00a0 on the 7th of April 2020 40 Canadians had to wait until mid-July before our health authorities suggested safer practices other than marital sex\u00a0 and\u00a0 abstinence.\u00a0 An\u00a0 official\u00a0 statement\u00a0 from the British-Columbia Center for Disease Control, probably\u00a0 inspired\u00a0 by\u00a0 New\u00a0 York City Department of Health and Mental Hygiene who boldly declared to \u201cmake it a little\u00a0 kinky\u201d with the help of \u201cphysical barrier[s], like walls that allow sexual contact while preventing\u00a0 close face-to-face contact,\u00a0 41<\/sup> \u00a0explicitly suggested, in clearer terms, the use \u00a0of \u201cglory\u00a0 holes\u201d.42<\/sup>\u00a0\u00a0\u00a0\u00a0 These\u00a0 statements\u00a0 are\u00a0\u00a0 the\u00a0\u00a0 product\u00a0 of\u00a0\u00a0 40\u00a0\u00a0 years\u00a0\u00a0 of harm\u00a0 reduction knowledge. Even if a bit tongue-in-cheek, they give off an aura of queerness that would have finally made its way up to the decision-makers. But safer sex is mostly a by-product of the AIDS crisis, and, as poet and lawyer Marcus McCann reminds us, it was not developed nor implemented by health authorities in the first place: “In the early days of the AIDS crisis, gay men insisted on receiving not just the official protocols, but also the underlying public health information and pharmaceutical research. It was our communities who took that data\u2014incomplete and contingent as it was\u2014and used it to fashion strategies which were controversial at the time, but that we now think of as.43<\/sup><\/span><\/p>

In the same article, McCann\u2014who, in 2016, helped at the defense of some of\u00a0 the\u00a0 72\u00a0 gay men arrested for cruising during the \u201cProject Marie\u201d raids in Toronto\u2019s Marie Curtis Park\u2014suggests that one of the controversial yet potentially probative strategy for the reduction of COVID-19 transmission could have been inspired by\u00a0 cruising. He\u00a0 brings up this idea recalling an anonymous sexual encounter at the infamous Harlan\u2019s Point\u00a0 Beach:\u00a0 “He does not suggest\u2014verbally or otherwise\u2014that I join him\u00a0 on\u00a0 the\u00a0 towel.\u00a0 He\u00a0 doesn\u2019t offer oral sex or anything that involves touching. Instead, in\u00a0 the\u00a0 gentlest voice\u00a0 possible,\u00a0 with his warm eyes looking up at me, he asks me to jerk off, to cum on his face. And then lying there underneath me, he began to tug on his speedo. It was only afterwards that I realized what he was offering, from a\u00a0 public health point of\u00a0 view.\u00a0 No\u00a0 kissing or\u00a0 contact. No touching of any kind. His face and my face were six feet\u00a0 apart, consistent with the COVID guidelines for socially distant outdoor meetings, except not\u00a0 six\u00a0 feet\u00a0 horizontally. Six feet vertically.44<\/sup><\/span><\/p>

Following McCann\u2019s logic, we could say that cruising of this sort is not transgressive anymore, since it seems to follow guidelines and authorities have started to take it under consideration, but I do not believe that was McCann\u2019s argument. Indeed, as described, cruising can be \u201csafe\u201d and therefore could convince more health officials to release statements like the ones mentioned above. However, cruising is\u00a0 not\u00a0 what\u00a0 someone would call \u201ccommon sense\u201d yet. People engaging in cruising still risk many prejudices by breaking, under constant surveillance, our\u00a0 social, spatial, and\u00a0 sanitary conventions. But\u00a0 it\u00a0 is exactly there that its transformative potential lies. To conclude, I therefore propose that cruising can be understood as a\u00a0 COVID-conscious tactic of\u00a0 safer\u00a0 sex\u00a0 that could be\u00a0 added to the shared and queer knowledge that generations\u00a0 of\u00a0 gay\u00a0 men\u00a0 have\u00a0 put\u00a0 forward\u00a0 with their sexual agency and activism. And\u00a0 this expands beyond\u00a0 the\u00a0 COVID-19\u00a0 pandemic, as we have seen how these hard times had underline societies\u2019 relation to intimacy, community, and control. Safer sex,\u00a0 risk-taking\u00a0 negotiation,\u00a0 or\u00a0 harm\u00a0 reduction,\u00a0 whatever we called it, are forms of critique; responses to official policies unsuited to our\u00a0 realities.\u00a0 They are part of what Jos\u00e9 Esteban Mu\u00f1oz calls \u201ccritique of the present\u201d, utopias situated\u00a0 here and now that offer us a peek to a possible future. These are the same\u00a0 queer worldmaking potentialities that reside in, and shape cruising as a spatial phenomenon; a critical spatial practice transformative of the urbanities in which it occurs.<\/span><\/p>

It is hard to take pride in a practice that could harm people when hospitals are getting fuller and fuller. I can also see it is why some people chose to shame gay men for cruising during a pandemic. However, if gay shame and gay pride stand on the ends of the same binary spectrum, I suggest that guilty pleasures such as cruising might reside in the middle. They are something that goes beyond the linear comings and goings of these two opposite feelings. Something that is not \u201ceither\/or\u201d pride and shame, but rather \u201cboth\/ and,\u201d thus creating a new space of queer potentialities. If cruising was not transgressive, it would not bear its utopian qualities. By standing-up and cruising despite the constant surveillance they face doing so, gay men are proving the social importance of their transgressive sexual behaviours. Being spatial practices, they underline the ubiquitous power of heteronormativity: a challenge to a strategic spatial order that enforces how people inhabit our cities. One might say that cruising is much of a perversion, and I could agree to that, even if I advocate for a broader understanding of cruising outside of sexual deviance. The etymological sense of perversion brings back to the notion\u00a0 of d\u00e9tournement<\/em>, literally diversion, or hijacking and misappropriation. To me, cruisers act as agents of the diversion of public space. Fl\u00e2neurs <\/em>and loiterers, their presence activates queer enclaves within heteronormative surroundings, co-spatialities accessible when \u201cyou\u2019re in the know\u201d. Yet, when their bodies leave, queerness lingers, whether because our fluids and traces litter the ground or simply because most cruising sites share queer qualities: unclaimed, maze-like, fluid, and vague as in the French expression terrains vagues <\/em>(wasteland). Or maybe because it is the only place of queer inhabitation to be found miles around. Cruising is a critical spatial practice, a quotidian practice of queer worldmaking, and if we see nothing improper in queerness, then the perversion of\u00a0 cruising is not a territorial misappropriation, but rather a territorial reappropriation.<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

10\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 REFERENCES<\/span><\/p>

An Act to amend the Criminal Code, the Youth Criminal Justice Act and other Acts and to make consequential amendments to other Acts, Pub. L. No. c 25, SC (2019).<\/span><\/p>

Bain, Alison L., Julie A. Podmore, and Rae Rosenberg. \u201c\u2018Straightening\u2019 Space and Time? Peripheral Moral Panics in Print Media Representations of Canadian LGBTQ2S Suburbanites, 1985\u20132005.\u201d Social & Cultural Geography <\/em>0, no. 0 (2018): 1\u201323.<\/span><\/p>

Betsky, Aaron. Queer Space<\/em>. New-York: HarperCollins, 1997.<\/span><\/p>

Berlant, Lauren, and Michael Warner. \u201cSex in Public.\u201d Critical Inquiry <\/em>24, no. 2 (1998): 547\u201366.<\/span><\/p>

Bersani, Leo. Is the Rectum a Grave? And Other Essays<\/em>. Chicago: The University of Chicago Press, 2009.<\/span><\/p>

B\u00e9rub\u00e9, Allan. \u201cThe History of Gay Bathhouses.\u201d Journal of Homosexuality <\/em>44, no. 3\u20134 (2003): 33\u201353.<\/span><\/p>

British-Columbia Center for Disease Control. \u201cCOVID-19 and Sex,\u201d July 2020.<\/span><\/p>

Brown, Gavin. \u201cCeramics, Clothing and Other Bodies: Affective Geographies of Homoerotic Cruising Encounters.\u201d Social & Cultural Geography <\/em>9, no. 8 (December 2008): 915\u201332.<\/span><\/p>

Califia, Pat. Public Sex: The Culture of Radical Sex<\/em>. Pittsburgh: Cleis Press, 1994.<\/span><\/p>

Cohen, Stanley. Folk Devils and Moral Panics: The Creation of the Mods and Rockers<\/em>. 3e ed. Routledge Classics. London: Routledge, 2011.<\/span><\/p>

Crawford, Lucas. Transgender Architectonics: The Shape of Change in Modernist Space <\/em><\/span>Gender, Bodies and Transformation. Burlington: Ashgate, 2015.<\/span><\/p>

Dangerous Bedfellows, ed. Policing Public Sex: Queer Politics and the Future of AIDS Activism<\/em>. Boston: South End Press, 1996.<\/span><\/p>

Dean, Tim. Unlimited Intimacy: Reflections on the Subculture of Barebacking<\/em>. Chicago London: The University of Chicago press, 2009.<\/span><\/p>

Eshr\u0101ghi, L\u00e9uli. Pun\u0101\u02bboa o \u02bbupu Mai \u02bbo Atumotu \/ Glossaire Des Archipels. 2019. Poster, 60cm \u00d7 90 xm.<\/span><\/p>

Evans, Robin. \u201cTranslations from Drawing to Building.\u201d In Translations from Drawing to Building and Other Essays<\/em>, 152\u201393. AA Documents. London: Architectural Association, 1997.<\/span><\/p>

Anderson, Grant. \u201c\u2018Why Can\u2019t They Meet in Bars and Clubs like Normal People?\u2019 : The Protective State and Bioregulating Gay Public Sex Spaces.\u201d\u00a0 Social & Cultural Geography\u00a0 <\/em>19, no. 6 (August 2018): 699\u2013719. <\/span><\/p>

Guild Press. \u201cQuebec Province.\u201d International Guild Guide<\/em>, 1968, 159\u201363.<\/span><\/p>

Halberstam, Jack. \u201cAn Introduction to Female Masculinity: Masculinity without Men.\u201d In Female Masculinity<\/em>, by Jack Halberstam, 1\u201343. Duke University Press, 1988. <\/span><\/p>

\u2014\u2014\u2014. In a Queer Time and Place: Transgender Bodies, Subcultural Lives<\/em>. Sexual Cultures. New York: New York University Press, 2005.<\/span><\/p>

\u2014\u2014\u2014. \u201cReflections on Queer Studies and Queer Pedagogy.\u201d Journal of Homosexuality <\/em>45, no. 2\u20134 (2003): 361\u201364.<\/span><\/p>

\u2014\u2014\u2014.\u201cUnbuilding Gender.\u201d Places Journal<\/em>, October 3, 2018.<\/span><\/p>

Hooper, Tom. \u201cQueering \u201969: The Recriminalization of Homosexuality in Canada.\u201d The Canadian Historical Review <\/em>100, no. 2 (2019): 257\u201373.<\/span><\/p>

Iveson, Kurt. Publics and the City<\/em>. Oxford: Blackwell Pub, 2007.<\/span><\/p>

Ingram, Gordon Brent, Anne-Marie Bouthillette, and Yolanda Retter, eds. Queers in Space: Communities, Public Places, Sites of Resistance<\/em>. Seattle, Wash: Bay Press, 1997.<\/span><\/p>

Jones, Angela, ed. \u201cIntroduction: Queer Utopias, Queer Futurity, and Potentiality in Quotidian Practice.\u201d In A Critical Inquiry into Queer Utopias<\/em>. Critical Studies in Gender, Sexuality, and Culture. New York: Palgrave Macmillan, 2013.<\/span><\/p>

Kenniff, Thomas-Bernard, and Carole L\u00e9vesque. \u201cInventories: Documentation as a Design Project.\u201d In Inventaires: La Documentation Comme Projet de Design \/ Inventories: Documentation as a Design Project<\/em>, edited by Thomas-Bernard Kenniff and Carole L\u00e9vesque, [pages TBD]. Montr\u00e9al: Bureau d\u2019\u00e9tude de pratiques indisciplin\u00e9es; Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, 2021.<\/span><\/p>

Laberge, Marie \u00c9lizabeth. \u201cCommuniquer l\u2019architecture par le m\u00e9dia exposition.\u201d MediaTropes <\/em>3, no. 2 (2012): 82\u2013108.<\/span><\/p>

Lachance, Jonathan. \u201cLes fondements architecturaux et \u00e9cologiques de l\u2019Environmental Design aux \u00c9tats-Unis, 1953-1975 : les cas d\u2019Ian L. McHarg et Lawrence Halprin.\u201d Ph.D., Universit\u00e9 du Qu\u00e9bec \u00e0 Mont\u00e9al, 2017.<\/span><\/p>

Leap, William. Public Sex\/Gay Space<\/em>. New-York: Columbia University Press, 1999.<\/span><\/p>

Mason, Fred. \u201cOf Men, Tearooms, And A Local Moral Panic.\u201d The Western Journal of Graduate Research <\/em>11, no. 1 (2002): 12\u201325.<\/span><\/p>

McCann, Marcus. \u201cYes, People Still Meet for Sex in Parks. No, It\u2019s Not a Problem.\u201d Medium <\/em>(blog), October 15, 2020.<\/span><\/p>

Mowlabocus, Sharif. Gaydar Culture : Gay Men, Technology and Embodiment in the Digital Age<\/em>. London: Routledge, 2010.<\/span><\/p>

\u2014\u2014\u2014. \u201cRevisiting Old Haunts through New Technologies: Public (Homo)Sexual Cultures in Cyberspace.\u201d International Journal of Cultural Studies <\/em>11, no. 4 (2008): 419\u201339.<\/span><\/p>

Mu\u00f1oz, Jos\u00e9 Esteban. Cruising Utopia: The Then and There of Queer Futurity<\/em>. New-York: NYU Press, 2009.<\/span><\/p>

Munt, Sally R. Queer Attachments: The Cultural Politics of Shame. <\/em>Queer Interventions. London: Routledge, 2017.<\/span><\/p>

New York City Department of Health and Mental Hygiene. \u201cSafer Sex and COVID-19,\u201d April 2020.<\/span><\/p>

\u201cPerversion.\u201d In The Oxford English Dictionary Online<\/em>. Oxford: Oxford University Press, 2020.<\/span><\/p>

Petrescu, Doina. Altering Practices: Feminist Politics and Poetics of Space. <\/em>New York: Taylor and Francis, 2006.<\/span><\/p>

Pilkey, Brent, Rachael M. Scicluna, Ben Campkin, and Barbara Penner, eds. Sexuality <\/em>and Gender at Home: Experience, Politics, Transgression<\/em>. London: Bloomsbury Academic, 2017.<\/span><\/p>

Rendell, Jane, Barbara Penner, and Iain Borden, eds. Gender Space Architecture: An Interdisciplinary Introduction<\/em>. Architext Series. London: E & FN Spon, 2000.<\/span><\/p>

Rendell, Jane. Art and Architecture: A Place Between<\/em>. London: I. B. Tauris, 2006.<\/span><\/p>

\u2014\u2014\u2014. \u201cCritical Spatial Practice.\u201d Exhibition program. Danemark: Kunstmuseet Koge Skitsesamling, 2008.<\/span><\/p>

\u2014\u2014\u2014. Site-Writing: The Architecture of Art Criticism<\/em>. Londres: Tauris, 2010.<\/span><\/p>

Ricco, John Paul. The Logic of the Lure. <\/em>Chicago: University of Chicago Press, 2002.<\/span><\/p>

Ross, Jamie. \u201c69 Positions. Our Vanishing.\u201d Exhibition. Montr\u00e9al: Centre\u00a0 MAI,\u00a0 August 2019.<\/span><\/p>

Sanders, Joel, ed. Stud: Architectures of Masculinity<\/em>. 1st ed. New York: Princeton Architectural Press, 1996.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

12\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 BIOGRAPHY<\/span><\/p>

Hugues Lefebvre Morasse is a SSHRC Joseph-Armand Bombardier Canada Graduate Scholarships recipient, research assistant, and graduate student in Environmental Design at Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al Design School, Canada. They try to\u00a0 unleash the queer potential of environmental design\u2019s project-research by studying queer spaces and urbanities, and by developing methodologies that are as queer as their object of studies. They are particularly interested in the world-making capacities of transgressive sexual behaviours and their spatialization. Their work on bathhouses, BODY HOUSES, has been auctioned at ARTSIDA X in February 2020, earning them the prize of the Emergent Artist Award.<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

CITATION<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

1<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

The \u201cideal son-in-law,\u201d as it translates in English, is a French- Canadian saying used to point out a young man\u2019s respectability. It\u00a0 is also a play on word as it refers, in the context of this article, to Jo\u00ebl Legendre name (literally Jo\u00ebl The- In-Law) and his former reputation.<\/em><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

2<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Munt, Queer Attachments , 25<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

3<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

On the performative aspects of shame, see the theories of Eve Kosofsky Sedgwick, in particular Shame and Its Sisters (Duke University Press, 1995).<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

4<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

See Leap, William. Public Sex\/Gay Space<\/em>. New-York: Columbia University Press, 1999. Brown, Gavin. \u201cCeramics, Clothing and Other Bodies: Affective Geographies of Homoerotic Cruising Encounters.\u201d Social & Cultural Geography <\/em>9, no. 8 (December 2008)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

5<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

See Berlant, Lauren, and Michael Warner. \u201cSex\u00a0 in\u00a0 Public.\u201d\u00a0 Critical Inquiry 24, no. 2\u00a0 (1998): 547 \u2013 66. Califia, Pat. Public Sex:\u00a0 The Culture of Radical\u00a0 Sex . Pittsburgh: Cleis Press, 1994. Dangerous Bedfellows, ed.\u00a0 Policing Public Sex: Queer Politics and the Future of AIDS Activism . Boston: South End Press, 1996.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

6<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

On gendered space see Petrescu, Doina. Altering Practices: Feminist Politics and Poetics of Space<\/em>. New York: Taylor and Francis, 2006.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

7<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Mu\u00f1oz,\u00a0 Cruising Utopia , 34<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

8<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Mu\u00f1oz, 35<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

9<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Lachance, \u201cLes fondements architecturaux et \u00e9cologiques de l\u2019Environmental Design aux \u00c9tats-Unis, 1953-1975,\u201d 66.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

10<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Lachance, 66<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

11<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

On Queer theory see Teresa de Lauretis, \u201cQueer Theory. Lesbian and Gay Sexualities: An Introduction,\u201d Differ-ences: A Journal of Feminist Cultural
Studies, special issue, 3, no. 2 (1991): iii\u2013xviii. On debates about queer studies
and disciplinarity, see Jack Halberstam, \u201cReflections on Queer Studies and
Queer Pedagogy,\u201d Journal of Homosex-uality 45, no. 2\u20134 (September 23, 2003): 361\u201364, https:\/\/doi.org\/10.1300\/J082v45n02_22.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

12<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Halberstam, \u201cAn Introduction to Female Masculinity,\u201d 13.<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

13<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Marie \u00c9lizabeth Laberge talks about an \u201carchitectural culture\u201d.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

14<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Kenniff, Thomas-Bernard, and Carole L\u00e9vesque. “Inventories: Documentation as a design project.” In Inventaires: La documentation comme projet de design \/ Inventories: Documentation as a design project <\/em>edited by Thomas-Bernard Kenniff and Carole L\u00e9vesque. Montr\u00e9al: Bureau d’\u00e9tude de pratiques indisciplin\u00e9es; Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, 2021.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

15<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

I have accessed a database of French-Canadian newspapers and compiled all 206 articles covering cruising issues from January 1st, 2010 to December 31st, 2019.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

16<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

One significant example\u00a0 of\u00a0 this kind of media attention is the coverage of cruising at \u00cele-Melville Park, in Shawinigan. A total of 24 articles were published over the course of 8 months. The story even made it to the\u00a0 local newspaper\u2019s Year Review special issue as one of the highlights of 2010. See \u201cR\u00e9trospective 2010,\u201d L\u2019Hebdo Du Saint-Maurice, January 12th, 2011.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

17<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

The term was first coined and developed by Stanley Cohen in Cohen, Folk Devils and Moral Panics , 9. See also Bain, Podmore, and Rosenberg, \u201c\u2018Straightening\u2019 Space and Time?\u201d and Mason, \u201cOf Men, Tearooms, And A Local Moral Panic.\u201d for\u00a0 other examples of\u00a0 moral panics about men\u00a0 having sex outdoor in Canadian context<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

18<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

My translation. These are the word of Marie-Louise Tardif, former director of \u00cele-Melville Park in Shawinigan and now Member of the National Assembly of Qu\u00e9bec. Roberge, \u201c\u00cele Melville: L\u2019Heure Est Au Grand M\u00e9nage.”<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

19<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Halberstam, In a Queer Time and Place<\/em>, 37.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

20<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Critical spatial practice <\/em>is a concept I borrow from art critic and architecture professor Jane Rendell. Drawing from Michel de Certeau concepts of strategy and tactic, she situates them in space, underlining a distinction between some \u201cpractices (strategies) that operate to maintain and reinforce existing social and spatial orders, and those practices (tactics) that seek to critique and question them.\u201d (See Rendell, \u201cCritical Spatial Practice,\u201d
2. And also Rendell, Art and Architecture: A Place Between<\/em>.) Cruising is then understood as the latter, a critical spatial practice where the social order under critique within the cruising ground is heteronormativity. In opposition, current media coverage, policing and apparatuses of spatial surveillance and control are the strategies reinforcing it.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

21<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Many local and global gay travel guides\u00a0 have\u00a0 been\u00a0 published\u00a0 over the years, but the case of the International Guild Guide is fascinating. Not unlike the well- known Negro Motorist Green Book, the IGG provided a list of gay and gay-friendly places, even cruising grounds,\u00a0 around\u00a0 North\u00a0\u00a0 America and Europe through the 1960s and 1970s. In the 1968 edition, the Qu\u00e9bec entry provides a list of spaces scattered\u00a0 across\u00a0 the province, acknowledging\u00a0 a\u00a0 queer life outside Montreal even at the time. See Guild Press, \u201cQuebec Province,\u201d International\u00a0 Guild Guide<\/em>, 1968, 159\u201363.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

22<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

It is rather common to hear the assumption that \u201cGrindr killed the gay bar.\u201d Even Tim Dean claims in Unlimited Intimacy <\/em>that sex enabled by internet \u201cis\u00a0 tantamount to treating a stranger as\u00a0 a\u00a0 blow-up doll or a mail-order sex toy\u2014an approach betokens a purely instrumental approach to the other, rather than the openness to others that cruising at its best represents.\u201d (Dean, Unlimited Intimacy, 194.) Shariff Mowlabocus is, however, more nuanced, as he considers cybercottaging\u2014the form of cruising, facilitated by specific websites, that takes place in public bathroom\u2014to be a revisiting of \u201cold haunts through new technologies\u201d that still bears the queer qualities of classic cruising. (Mowlabocus, \u201cRevisiting Old Haunts\u00a0 through New Technologies,\u201d 433.) See also Mowlabocus, Gaydar Culture <\/em>: Gay Men, Technology and Embodiment in the Digital Age<\/em><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

23<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

This acronym refers to \u201cGoogle, Amazon, Facebook and Apple\u201d and the likes. It also refers to this overwhelming power own by a small group of tech companies located in Silicon Valley, but somehow impacting and shaping the whole world<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

24<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

I was interested in this analogy\u2014where breaking the norms of architectural drawing becomes a tool to repre-sent ways in which cruising break social norms\u2014after reading the work of Robin Evans. In his essay Transla-tions from Drawing to Building, Evans claims that architectural representation is not forever bound to the technicist culture\u00a0 that\u00a0 helped\u00a0 establish\u00a0 its scientific authority. By studying inaccuracy in a renaissance cas-tle\u2019s plans, he states that by breaking away from architectural norms, by subverting it, these drawings were becoming \u201cthe locale of subterfuges and evasions,\u201d (Evans, \u201cTranslations from Drawing to Building,\u201d 186.) I have a feeling that \u201csubterfuges and evasions\u201d could also be what one could say about Mu\u00f1oz\u2019s queer sex utopia spaces.<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

25<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Dean, Unlimited Intimacy, 180.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

26<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Dean, 211.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

27<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Dean, 36.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

28<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Dean, 36\u201337.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

29<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Canadian Broadcasting Corporation, \u201cThere\u2019s No Place for the State in the Bedrooms of the Nation.\u201d<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

30<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

The idea of \u201csurveillance gaze\u201d is\u00a0 developed by\u00a0 Kurt\u00a0 Iveson\u00a0 in\u00a0 Public and the City, as he builds on Henning Bech\u2019s essay Citysex: representing lust in public. Iveson, Publics and the City, 86\u201387.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

31<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Berlant and Warner, \u201cSex in Public,\u201d 547.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

32<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

This idea was explored in many pieces\u00a0 and\u00a0 performance\u00a0 from\u00a0 the exhibition 69 Positions: Our Vanishing curated by Ross. Ross, \u201c69 Positions. Our Vanishing.\u201d<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

33<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Dean, Unlimited Intimacy, 174.<\/span><\/p>



<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

34<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

This argument is probably the central thesis of Unlimited Intimacy. \u201cThe aids epidemic has given gay men new opportunities for kinship, because sharing viruses has come to be understood as a mechanism of alliance, a\u00a0\u00a0 way of forming consanguinity with strangers or friends. Through HIV, gay men have discovered that they can \u201cbreed\u201d without women. Unlimited Intimacy does not take for granted what might seem obvious, namely, that bareback subculture is all about death. For some of its participants,\u00a0\u00a0 bareback sex concerns different forms of life, reproduction, and kinship. As will become clear, barebacking isn\u2019t merely Russian-roulette sex, that is, fucking with life and death stakes; barebacking also raises questions that complicate how we distinguish life-giving activities from those that engender death.\u201d (Dean, 6.).<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

35<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

I borrow the term cumline\u2014 a word play on bloodline and the form of kinship through semen Dean talk about\u2014from artist and researcher Dr. L\u00e9uli Eshr\u0101ghi, whose practice focuses on queer and indigenous kin-ships, sensual and spoken language, and ceremonial political practices. Eshr\u0101ghi, Pun\u0101 oa o upu Mai o Atumotu \/ Glossaire Des Archipels.<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

36<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Gagn\u00e9, Tremblay, and Dickey, \u201cTol\u00e9rance z\u00e9ro pour les p\u2019tits moineaux!,\u201d 4:48.<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

37<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Gagn\u00e9,\u00a0 Tremblay,\u00a0 and Dickey, 5:00.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

38<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Soci\u00e9t\u00e9 Radio-Canada, \u201cActions ind\u00e9centes.\u201d<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

39<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

I use here the term \u201chailing\u201d loosely, even if we could suggest a reading of my encounter with the plainclothes officer following the theory of interpellation of Louis Althusser. I would like to thank my friend and colleague Brian Bergstom, who helped me with the translation of my\u00a0 creative writing, for introducing me to this idea that will surely be explored in further projects.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

40<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Labranche, \u201c\u00abLa monogamie est pr\u00e9f\u00e9rable de ce temps-ci\u00bb, dit M. Arruda.\u201d<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

41<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

New York City Department of Health and Mental Hygiene., \u201cSafer Sex and COVID-19.\u201d<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

42<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

British-Columbia Center for Disease Control, \u201cCOVID-19 and Sex.\u201d<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

43<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

McCann, \u201cYes, People Still Meet for Sex in Parks. No, It\u2019s Not a Problem.\u201d<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

44<\/span><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

McCann.<\/span><\/p>

\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Gay Men Will Be Cruising No Matter What: Transgressive Queer Pleasure as World-Making Praxis Title: Gay Men Will Be Cruising No Matter What: Transgressive Queer Pleasure as World-Making PraxisAuthors: Hugues Lefebvre-MorasseKeywords: Cruising, Queer world-making, Design, Quebec, Critical spatial practice, Metronormativity 1\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ABSTRACT Gay men will be cruising no matter what, … <\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-16947","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/informa.uprrp.edu\/index.php?rest_route=\/wp\/v2\/pages\/16947","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/informa.uprrp.edu\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/informa.uprrp.edu\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/informa.uprrp.edu\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/informa.uprrp.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=16947"}],"version-history":[{"count":124,"href":"https:\/\/informa.uprrp.edu\/index.php?rest_route=\/wp\/v2\/pages\/16947\/revisions"}],"predecessor-version":[{"id":17097,"href":"https:\/\/informa.uprrp.edu\/index.php?rest_route=\/wp\/v2\/pages\/16947\/revisions\/17097"}],"wp:attachment":[{"href":"https:\/\/informa.uprrp.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16947"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}