Graduation day at Brown; best wishes for the community.


A couple of points of focus, regarding our structure and the benefits of anarchy, the unknown and the impossible.


Mina Loy –


There is no Life or Death,

Only Activity

And in the absolute

Is no declivity.

There is no Love or Lust

Only Propensity

Who would possess

is a nonentity.

There is no First or Last

Only equality

And who would rule

Joins the majority.

There is no Space of Time

Only intensity,

And tame things have no immensity


Mohammed Bamyeh


“Anarchy thus seems to promise few guarantees in terms of specific outcomes, which means that it will probably be unlikely to be persuasive to those who insist on the kind of social engineering that is justified by its outcome. However, prioritizing action over effectiveness derives not from impractical disinterest in results. Rather, it has two foundation: the first is that if guaranteeing a result means enlisting great social resources into the powers of the state, the only result that could be guaranteed is increased state power over society. Power in this case… increases itself by offering itself as the ‘helping hand,’ whence it itself becomes stealthily more effective, normal, and persuasive in society.”


Have been seeing lots of well produced theater lately – scripts thoroughly written, thoroughly memorized, well lit… and there recurs that familiar physiological reaction I’ve complained about too many times. I well up about halfway through, lonely as a six year old lost in a crowd. I am uninvited on the journey – or there is no journey, there is the documentation of a journey – the show, the script are postcards from a process, finished for my benefit; menu pictures and the kitchen’s closed. I am given no job of work and I like to work.


The sense of event – without which theater is merely, merely a rehearsal of state power, an exercise in obedience rewarded with solipsistic satisfactions that take the self out from collective action – the sense of event relies on the present tense option on the part of the audience to make, to do, to be. To mourn, to remember, to rejoice (re-joy – to bear happiness to happiness; not to “feel good” only but to show happiness its face – to show out our joy as a temporary, fluid society [fluid solidarity – Bamyeh]).


Soulographie, like What A Stranger May Know, is a memorial action; a dramaturgy of action over outcome.

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