SCUM MANIFESTO Echoes 69
and thinking, more than to what is seen, to what is though, said, or done. In the West the combat of forms has been just as hard fought, if not more so, than that of ideas or values” 7
The Manifesto’s posterity is directly interrogated by and staged in several, contemporary art works which re-enact this voice, dis-place it in time so that it may find a tone and body that enable a renewed listening space, works that “restore” this voice in order to increase its an impact, today. This is the reflection of the art-ist Catherine Corringer in her piece Scum/Performance — created on 18 December 2009 8-, in which her voice is played and distort-
7 M. Foucault, Aesthetics, Method, and Epistemology, J. D. Faubion (ed.), trans by R. Hurley and others, Essential Works of Foucault, 1954-1984, vol. 2, The New Press, New York, 1998, p. 242.
8 See the artist’s website → http://www.catcor.net/#!scum-performance.
Performing SCUM, Angela Marzullo, 2005