robertogreco + documenta14   3

Language Is Migrant - South Magazine Issue #8 [documenta 14 #3] - documenta 14
"Language is migrant. Words move from language to language, from culture to culture, from mouth to mouth. Our bodies are migrants; cells and bacteria are migrants too. Even galaxies migrate.

What is then this talk against migrants? It can only be talk against ourselves, against life itself.

Twenty years ago, I opened up the word “migrant,” seeing in it a dangerous mix of Latin and Germanic roots. I imagined “migrant” was probably composed of mei, Latin for “to change or move,” and gra, “heart” from the Germanic kerd. Thus, “migrant” became “changed heart,”
a heart in pain,
changing the heart of the earth.

The word “immigrant” says, “grant me life.”

“Grant” means “to allow, to have,” and is related to an ancient Proto-Indo-European root: dhe, the mother of “deed” and “law.” So too, sacerdos, performer of sacred rites.

What is the rite performed by millions of people displaced and seeking safe haven around the world? Letting us see our own indifference, our complicity in the ongoing wars?

Is their pain powerful enough to allow us to change our hearts? To see our part in it?

I “wounder,” said Margarita, my immigrant friend, mixing up wondering and wounding, a perfect embodiment of our true condition!

Vicente Huidobro said, “Open your mouth to receive the host of the wounded word.”

The wound is an eye. Can we look into its eyes?
my specialty is not feeling, just
looking, so I say:
(the word is a hard look.)
—Rosario Castellanos

I don’t see with my eyes: words
are my eyes.
—Octavio Paz

In l980, I was in exile in Bogotá, where I was working on my “Palabrarmas” project, a way of opening words to see what they have to say. My early life as a poet was guided by a line from Novalis: “Poetry is the original religion of mankind.” Living in the violent city of Bogotá, I wanted to see if anybody shared this view, so I set out with a camera and a team of volunteers to interview people in the street. I asked everybody I met, “What is Poetry to you?” and I got great answers from beggars, prostitutes, and policemen alike. But the best was, “Que prosiga,” “That it may go on”—how can I translate the subjunctive, the most beautiful tiempo verbal (time inside the verb) of the Spanish language? “Subjunctive” means “next to” but under the power of the unknown. It is a future potential subjected to unforeseen conditions, and that matches exactly the quantum definition of emergent properties.

If you google the subjunctive you will find it described as a “mood,” as if a verbal tense could feel: “The subjunctive mood is the verb form used to express a wish, a suggestion, a command, or a condition that is contrary to fact.” Or “the ‘present’ subjunctive is the bare form of a verb (that is, a verb with no ending).”

I loved that! A never-ending image of a naked verb! The man who passed by as a shadow in my film saying “Que prosiga” was on camera only for a second, yet he expressed in two words the utter precision of Indigenous oral culture.

People watching the film today can’t believe it was not scripted, because in thirty-six years we seem to have forgotten the art of complex conversation. In the film people in the street improvise responses on the spot, displaying an awareness of language that seems to be missing today. I wounder, how did it change? And my heart says it must be fear, the ocean of lies we live in, under a continuous stream of doublespeak by the violent powers that rule us. Living under dictatorship, the first thing that disappears is playful speech, the fun and freedom of saying what you really think. Complex public conversation goes extinct, and along with it, the many species we are causing to disappear as we speak.

The word “species” comes from the Latin speciēs, “a seeing.” Maybe we are losing species and languages, our joy, because we don’t wish to see what we are doing.

Not seeing the seeing in words, we numb our senses.

I hear a “low continuous humming sound” of “unmanned aerial vehicles,” the drones we send out into the world carrying our killing thoughts.

Drones are the ultimate expression of our disconnect with words, our ability to speak without feeling the effect or consequences of our words.

“Words are acts,” said Paz.

Our words are becoming drones, flying robots. Are we becoming desensitized by not feeling them as acts? I am thinking not just of the victims but also of the perpetrators, the drone operators. Tonje Hessen Schei, director of the film Drone, speaks of how children are being trained to kill by video games: “War is made to look fun, killing is made to look cool. ... I think this ‘militainment’ has a huge cost,” not just for the young soldiers who operate them but for society as a whole. Her trailer opens with these words by a former aide to Colin Powell in the Bush/Cheney administration:
OUR POTENTIAL COLLECTIVE FUTURE. WATCH IT AND WEEP FOR US. OR WATCH IT AND DETERMINE TO CHANGE THAT FUTURE
—Lawrence Wilkerson, Colonel U.S. Army (retired)


In Astro Noise, the exhibition by Laura Poitras at the Whitney Museum of American Art, the language of surveillance migrates into poetry and art. We lie in a collective bed watching the night sky crisscrossed by drones. The search for matching patterns, the algorithms used to liquidate humanity with drones, is turned around to reveal the workings of the system. And, we are being surveyed as we survey the show! A new kind of visual poetry connecting our bodies to the real fight for the soul of this Earth emerges, and we come out woundering: Are we going to dehumanize ourselves to the point where Earth itself will dream our end?

The fight is on everywhere, and this may be the only beauty of our times. The Quechua speakers of Peru say, “beauty is the struggle.”

Maybe darkness will become the source of light. (Life regenerates in the dark.)

I see the poet/translator as the person who goes into the dark, seeking the “other” in him/herself, what we don’t wish to see, as if this act could reveal what the world keeps hidden.

Eduardo Kohn, in his book How Forests Think: Toward an Anthropology Beyond the Human notes the creation of a new verb by the Quichua speakers of Ecuador: riparana means “darse cuenta,” “to realize or to be aware.” The verb is a Quichuan transfiguration of the Spanish reparar, “to observe, sense, and repair.” As if awareness itself, the simple act of observing, had the power to heal.

I see the invention of such verbs as true poetry, as a possible path or a way out of the destruction we are causing.

When I am asked about the role of the poet in our times, I only question: Are we a “listening post,” composing an impossible “survival guide,” as Paul Chan has said? Or are we going silent in the face of our own destruction?

Subcomandante Marcos, the Zapatista guerrilla, transcribes the words of El Viejo Antonio, an Indian sage: “The gods went looking for silence to reorient themselves, but found it nowhere.” That nowhere is our place now, that’s why we need to translate language into itself so that IT sees our awareness.

Language is the translator. Could it translate us to a place within where we cease to tolerate injustice and the destruction of life?

Life is language. “When we speak, life speaks,” says the Kaushitaki Upanishad.

Awareness creates itself looking at itself.

It is transient and eternal at the same time.

Todo migra. Let’s migrate to the “wounderment” of our lives, to poetry itself."
ceciliavicuña  language  languages  words  migration  immigration  life  subcomandantemarcos  elviejoantonio  lawrencewilkerson  octaviopaz  exile  rosariocastellanos  poetry  spanish  español  subjunctive  oral  orality  conversation  complexity  seeing  species  joy  tonjehessenschei  war  colinpowell  laurapoitras  art  visual  translation  eduoardokohn  quechua  quichua  healing  repair  verbs  invention  listening  kaushitakiupanishad  awareness  noticing  wondering  vicentehuidobro  wounds  woundering  migrants  unknown  future  potential  unpredictability  emergent  drones  morethanhuman  multispecies  paulchan  destruction  displacement  refugees  extinction  others  tolerance  injustice  justice  transience  ephemerality  ephemeral  canon  eternal  surveillance  patterns  algorithms  earth  sustainability  environment  indifference  complicity  dictatorship  documenta14  2017  classideas 
4 weeks ago by robertogreco
Véréna Paravel and Lucien Castaing-Taylor - documenta 14
"Few filmmakers in recent years have managed to combine formal innovation with a programmatic stance toward filmmaking quite like Véréna Paravel and Lucien Castaing-Taylor. In the process of reinventing the relationship between their two fields of inquiry, anthropology and cinema, they have established an experimental laboratory and school at Harvard University, the Sensory Ethnography Lab. The films coming out of the lab take a decentered, nonanthropocentric approach to the visual practice of the moving image. Their camera does not focus primarily on humans as privileged actors in the world but rather on the fabric of affective relations among the natural elements, animals, technology, and our physical lifeworlds.

Their “nonnarrative epics” are meditative, trance-like journeys into unseen and alien aspects of our environments; they unearth a different order for the principles of knowledge and cinematographic language, one that is nonsignifying and nonhierarchical. Paravel and Castaing-Taylor’s Leviathan (2012), for instance, is a vertigo-inducing study of the human relationship to the sea, filmed by equipping a fishing boat with numerous cameras and devices. The decentering achieved in the film evokes mythologies of the sea, while also addressing urgent contemporary concerns regarding the place of the human in the cosmos and within a future ecology.

Paravel and Castaing-Taylor, born in 1971 in Neuchâtel, Switzerland, and in 1966, in Liverpool, respectively, are premiering two new film installations at documenta 14. In Somniloquies (2017), their camera moves over sleeping, unguarded naked bodies while a soundtrack relays the sleep talk, nocturnal speculations, and orated dreams of Dion McGregor, a gay American songwriter whose hallucinatory, salacious, and sadistic dreams were recorded by his New York roommate over a seven-year period in the 1960s. Their second installation focuses on the controversial figure of Issei Sagawa, who gained notoriety in 1981 when, as a graduate student in Paris, he murdered a fellow student and engaged in acts of cannibalism. After his release from a mental institution, Sagawa returned to Japan, and later appeared in innumerable documentaries and sexploitation films. In contrast to earlier journalistic documentaries on Sagawa, the film by Paravel and Castaing-Taylor suspends moral judgment and explores a realm that eludes classification as either “documentary” or “pure fiction,” to instead chart the ambiguous territory between crime, fantasy, and social realities, between an individual and the economy of his public persona. Theirs is a filmmaking that ultimately renders the elements of nature and culture …

—Hila Peleg"
vérénaparavel  luciencastaing-taylor  film  cinema  sensoryethnography  documenta14  hilapeleg  filmmaking  ethnography  anthropology  documentary  isseisagawa  sagawa  dionmcgregor  senses  visualethnography  somniloquies  narrative  nature  animals  multispecies  bodies  non-narrative  sensoryethnographylab  body 
may 2018 by robertogreco
Under the Mango Tree—Sites of Learning - documenta 14
"To come under the shade of this mango tree with such deliberateness and to experience the fulfillment of solitude emphasize my need for communion. While I am physically alone proves that I understand the essentiality of to be with.
—Paulo Freire, Pedagogy of the Heart

The structures of formal education systems are increasingly reaching their limits due to their outmoded and inflexible foundations. However, informal and artist-led educational initiatives are taking root. documenta 14’s aneducation and ifa (Institut für Auslandsbeziehungen) are organizing the gathering of Under the Mango Tree—Sites of Learning, which addresses current educational shifts by inviting different artistic initiatives and schools from multiple geographies to come to Kassel. These different organizations are critically positioned both within and outside the Western canon.

With a special emphasis on historical and contemporary accounts and examples from nonhierarchical models of learning, the gathering presents Indigenous, communal practices of producing and preserving knowledge as well as initiatives that reflect on postcolonial knowledge production in nonhierarchical settings.

The some twenty contributors are each working towards new vantage points for a contemporary and broadened understanding of learning and knowledge production. Their work is presented in forms ranging from lectures to performances and workshops, in which active participation is welcome. Drawing on the model of a communal garden as a place of teaching and learning, the gathering takes place at various sites in Kassel during documenta 14.

Contributing projects, initiatives, and schools: Óscar Andrade Castro and Daniela Salgado Cofré (Ciudad Abierta), David Chirwa (Rockston Studio 1985), Sanchayan Ghosh (Santiniketan), Rangoato Hlasane (Keleketla! Library), Anton Kats (Narrowcast House), Duane Linklater, Tanya Lukin Linklater and cheyanne turions (Wood Land School), Sofía Olascoaga, Alessandra Pomarico (Free Home University), Marcelo Rezende, Syafiatudina (KUNCI), Jorge I. González Santos (Escuela de Oficio), Marinella Senatore (The School of Narrative Dance), and others

*Please register for the gathering by filling in the form at: www.ifa.de/en/events/under-the-mango-tree.html. More information will be provided upon registration.

Under the Mango Tree is a cooperation between documenta 14 aneducation and the Visual Arts Department of ifa (Institut für Auslandbeziehungen).

The gathering is supported by a partnership with ArtsEverywhere, an online platform by Musagetes, which discusses the arts in relation to all aspects of the world around us."
via:javierarbona  documenta14  artschool  artschools  education  sfsh  pedagogy  unschooling  deschooling  aneducation  learning  paolofreire  ciudadabierta  óscarandradecastro  danielasalgado  davidchirwa  rockstonstudio1985  sanchayanghosh  santiniketan  rangoatohlasane  keleketla!library  antonkatsnarrowcasthouse  duanelinklater  tanyalukinlinklater  cheyanneturions  woodlandschool  sofíaolascoaga  alessandrapomarico  freehomeuniversity  marcelorezende  syafiatudina  KUNCI  jorgegonzálezsantos  escueladeoficio  marinellasenatore  theschoolofmarrativedance  altgdp  knowledgeproduction  workshops  events  horizontality  indigenous  communal  postcolonialism  hierarchy  amereida 
july 2017 by robertogreco

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