SCUM MANIFESTO Echoes 81

S•he polishes a shadow puppet appearance, accompanied by music with low harmonic concentration. S•he is used to taking the floor.

S•he is wearing a freshly ironed shirt with a purplish, acronymic inscription embroidered on a pocket, stuck against the ventricular coronary cavity. MVP. Standing for Magna est Veritas et Praevavebit, truth is mighty and shall prevail.

S.he is imposing — as a masculine presence — like all the others gathered this afternoon in the front of the stage, deeply hemmed in the pit.

The soundtrack of every authorised lecture must invariably be conceived out of a selection of official pieces by famous female composers: Sequentia by Hildegarde de Bingen, Mine by the right of the white election by Gloria Coates, Variations concertantes by Louise Farrenc, L'Ile Re-sonante by Eliane Radigue, Yeroushalayim shel zahav by Naomi Shemer and Cinq Voyelles pour Quatre Flûtes by Sophie Lacaze. Remixed, sampled and deteriorated, these pieces have all been assembled within a single strident litany. The toile de Jouy unzips in its centre, like a pair of low-waist skinny pants. The sound backlash disrupts the soundtrack. The conference is micro-disseminated.

S•he’s mouth opens as an arrow slit, pronouncing the following parable:

The repression, the domination exercised over our species is very real, under the guise of shimmering the possibility of an eman-cipation through the uninterrupted collection of low quality, al-most instantly obsolescent trinkets and in the unhealthy accumu-lation of dough. We are asked to open our mouths — Say Ah!

I am speaking to you counter-clockwise.