For those needing any practical reassurance that “waterboarding” is a form of torture, Christopher Hitchens provided something close to a final word on the matter, at least in the realm of public opinion (and persuasion), when he subjected himself to it for the benefit of Vanity Fair’s readers.
One is reminded of the Hitch’s stunt by a short piece from last Wednesday’s New York Times, which used it to introduce artist Steve Powers’ The Waterboarding Thrill Ride, an “animatronic diorama,” installed out on Coney Island, “that depicts a prisoner being waterboarded.” Whatever you may think of the necessity, or originality, or political probity of Powers’ diorama, which is being presented by Creative Time, the final sentences of the Times‘ piece describes how Powers’ project will take on a bizarre because redundant dimension when,
In mid-August Mr. Powers and several lawyers will be waterboarded by a trained professional in a secret location in Coney Island as a private performance. Documentation on the performance will be at creativetime.org.
I think one needs to needs to ask here just what such a performance can hope to achieve, either for politics or for art. If Hitchens’ waterboarding was an act undertaken to provide an otherwise reliable public account of it as torture, does not Powers’ “private performance” come off sounding more like an exercise in voyeuristic sadomasochism (which certainly has its own political dimension, just not the one Powers and Creative Time are after)?