He's Had Enough, We'd Better Get Him Into the Ambulance

This is why writers ought to work alone. Eric and I have been "discussing" - well, only one of us ended up with a bloody nose - the reasons for the fashion in theatre to break the fourth wall, the history of cabaret and the possibilities of a "new queer art." These topics explain why I don't get invited to parties, although Eric was out last night until two in the morning, hobnobbing with The Creative Matyrs and Kim Khaos.

We also had an interesting adventure, starring Ricky out of the pub next door. Vile decided to ask him about his feeling on conceptual art, which concluded in a tearful monologue about gender identity. Consequently, articles on Iron  and Made in China will be published tomorrow, as soon as Eric picks Vile up from A&E.

Before he was hospitalised, Vile was very kindly explaining the history of burlesque, and how the pattern of increased rights for women co-existing with more explicitly sexual images available in the public domain may well have found a common point in the burlesque revival - a pattern Vile insists replicates a similar situation in Classical Greece. Eric had been to The Gatsby Club, while Vile hit the one-man-and-his-pig electronica extravangza at Tramway, and innocently inquired about how burlesque, which occupies a contested position in relationship to striptease.

Inevitably, this descended into another attempt to find out what the purpose of art might be. Eric reminded Vile of how neither of them had seen Roseanna Cade's My Big Sister Taught Me This Lap Dance because Vile had worried that it would be too compromising for a critic to be in that intimate a performance with a performer. However, they both realised that the element of erotic danger this represented - crossing an emotional line, being forced to confront and assess a response to an act that is fundamentally intended to be erotic - was an important part of Cade's intention, and that the cognitive dissonance she was setting up made this a prime example of queer art. By embracing the marginalised, it asked serious questions about the public perception of sexual display.

As Sunday comes to a cold close, the legendary Vile Arts review machine marches onwards, giving critiques of its own empty existence and making grand statement about work it hasn't seen.