grey and power

The classic tech tee shirt: “good, fast, and cheap – choose any two.”

 

About reform: repair/recompose the power; create a synthetic/dialogic space between dominance and its escape/ evasion; escape/evade – compose the alternative along wholly different lines. I favor the latter two. I don’t want to die having attempted to change the hearts of those in power where power is based in a concentration of resources and amortality. The hearts won’t change – or in fact don’t need changing… there’s plenty of good work going on that alienates me and discounts my experience – good work that hates me, calls me stupid and takes my money. There is a kind of power that will from time to time take pity on me and give me a couple of bucks to mow its lawn – but won’t ever protect me, not (always) because the people who wield it are mean, but because, sanely, they reject me, knowing I actually hate them, think they’re stupid and want their money. This is not the basis for a healthy relationship. So instead I try to build alternatives that are based in mortality and a distribution of resources based on trust and enacted in hospitable conversation. I’m not especially good at it, and because mortality is built in (way vs. achievement; perpetual passing-away is key to its manner) success is hard to measure – a loser’s refuge, but also, ethically sound, and lined up with consistent cultural practices. Just listened to N. Simone’s “Do I Move You” (“It pleases me…”), and taking motion as a dramatic principle necessary both to power and its evasion (the former looking to live at the source of motion, the latter looking to live in the motion itself – in the Movement) – a space in which to be wrong, a space for discourse – is worth struggling to maintain.

 

So Soulographie attempts to produce evasively in some ways (as it can, as it knows how to plus how it doesn’t yet know how to), while seeking out space for debate with its subjects and its own mission, not excluding the room at the table for objects of its examination. I want these plays to speak unconventionally, not wholly as plays, not wholly as theater; I also want them to speak to (and from) theater. I want the experience to not understand (and to discourage settled understanding), but I don’t want the event to be without direction… The lack of a single political or moral conclusion is a consequence of a launch from certainty towards compassion across some deep, deep problems. Faith doesn’t own anything, but is the opposite of vague.

 

On another note –

 

Just saw the great Rwandan movie “Grey Matter” which I recommend highly… The acting is outstanding and the cinematography is true (as friend Noam Schuster says – finally Kigali looks like Kigali); but above all, its narrative renders persuasive traumatic structures. Uncertain and compassionate.

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