Lucky Pierre

Un/settling scores: Actions for Torture Justice

Flavio Rodrigues, proposal for Chicago Torture Justice Memorial, 2011
Flavio Rodrigues, proposal for Chicago Torture Justice Memorial, 2011

101. Forget to die. Repeat and live forever.  

  Lucky Pierre, Actions for Chicago Torture Justice

Another potential use of the score which I’m increasingly interested in is in the realm of political activism. How might the performance writing form of ‘action’ expand beyond the recognizable activist performance model (scripts for street theater, etc.) and/or the much more militant and confrontational modes of direct action which are generally discussed in terms of efficacy (symbolic &/or material) rather than ‘as performance’ (as if the latter threatens to turn the political into the ‘merely’ aesthetic)?1

One recent example of new thinking along this continuum uses the instruction-art model to propose actions that range from the more conventionally confrontational political activism to ‘symbolic’ art-actions to the seemingly impossible/ ‘imaginational’2 / ‘unthinkable.’

Magazines #7

Steamer 3

Image by Andrew Atchison from Steamer 2
Image by Andrew Atchison from Steamer 2

The third issue of Melbourne magazine Steamer - edited by Sam Langer - features a number of one line poems: my favourite is 'rocker' by Will Druce: 'sssssstay onlike a roa deeeeeee afterrrrthash ow'. It could be drunk, it could be the beginning of 'Cherry Bomb'. Neologisms like 'onlike', 'roa' and 'afterrrrthash' suggest a mutating rocker vernacular that gets more interrrresting the more the rocker thinks about what they're saying. 

Another poem from the issue, 'token' by Ella O'Keefe is one that knows it was written on a keyboard (as much as the hands may remember 'duck-egg formica'). It interrupts what becomes retrospective lyrical droning to jump up and want something a: 'Fresh!/Fruit!/Shake!'. Three exclamations suspended by the question of wondering ... Having energise the line and mood, new implausibilities may be murmured. We attend to mockery, then we're collaged onto a tarmac. Single quotes turn into double: a successful 'lawn-a-concept-centre' date then.

when a rooster crows

the whole body is used

& it puts you back

in your own

This could be O'Hara with clipped wings or Williams with the strength reversed to the end.

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