{"id":1494,"date":"2016-04-05T15:27:36","date_gmt":"2016-04-05T13:27:36","guid":{"rendered":"http:\/\/nivel.teak.fi\/carpa4\/?p=1494"},"modified":"2016-05-30T14:17:05","modified_gmt":"2016-05-30T12:17:05","slug":"ornamentation-based-upon-more-than-human-references-moving-towards-an-ecology-of-trust-elisabeth-laasonen-belgrano","status":"publish","type":"post","link":"https:\/\/nivel.teak.fi\/carpa4\/ornamentation-based-upon-more-than-human-references-moving-towards-an-ecology-of-trust-elisabeth-laasonen-belgrano\/","title":{"rendered":"Ornamentation based upon More-Than-Human-References: Moving Towards an Ecology of Trust Elisabeth Laasonen Belgrano<\/b>"},"content":{"rendered":"
Elisabeth Laasonen Belgrano<\/address>\n

PhD in Performance in Theatre and Music Drama<\/p>\n

Keywords: Voice, Performance, Force, Form, Becoming, Trust<\/p>\n

Abstract<\/h2>\n

This performance-presentation exhibits ornamenting processes of I\/voice\/force and becomings<\/em> between sounding notes\/structures\/forms. In short: articulating mattering-processes through force and form. Following a transforming web of acts and encounters, desire and urge – becomings<\/em> of I\/voice – are continuously meeting that-which-isn’t-yet-known<\/em>. The form (or stage) presented, is a landscape and a twisted borderland made up of nomadic theory (Braidotti 2011<\/span>) and artistic operatic madness (Belgrano 2011<\/span>). The force is a chorus of intra-active voices mourning the loss of a city, loss of life and loss of trust. Departing from a nomadology illustrated conceptually, politically and contextually by Braidotti, the I\/voice\/force moves through structures of sound, characters, emotions and statements chanted out of fear and pain. Each vocal sound marks a conclusion<\/em> and a beginning<\/em>. Limiting. According to Lacan, limits – being wounds or scars, or marks “of irreplaceable losses as well as liberal thoughts.” According to Deleuze, limits – “points of passages, thresholds, and markers of sustainability” (Braidotti 2011<\/span>). Limits<\/em> = Conclusions<\/em> and Beginnings<\/em>. What comes in between all limits are transformations<\/em>, as in complex ecosystems of indeterminable encounters. Everyone being part of such an encounter is being touched by the presence of its in\/non\/human neighbours. Together they form a world of more-than-human-references. An irrational structure in it’s own becoming. The purpose of this paper is to show how each vocally fragmented ‘conclusion-transformation-beginning<\/em>’ of a microscopic moment, generates patterns being part of much larger global patterns. Along the way every act and every turn of I\/voice\/force will, by means of emergent properties, be diffracted and giving birth to multiple voices. One voice will become I-being-more-than-one-voice<\/em>, trusting in its own ways, colours, shapes, forms, and non\/sensical appearances. As a result, this paper calls for further investigation of transformative processes with\/out limits, and thus moving towards an Ecology of Trust<\/em>.<\/p>\n

Guide for the reader\/audience<\/h2>\n

This performance-presentation can be experienced in more than one way. You may for example choose to read the text as presented here below. Or, if you like a different form including texts, sound and images you may follow this link to the exposition staged for the purpose of this performance-presentation in the Research Catalogue: www.researchcatalogue.net\/view\/210543\/210544<\/a><\/p>\n

The presentation has been shaped and inspired by a 17th century opera libretto. The outcome has been assembled as a dialogue and a drama for Voice\/Mind and a Chorus of More-than-Human-References. Each one of these More-than-Human-References serves as another subject entering the thinking process quite unpredicted and spontaneously, rather than being pointed out, referred to, reflected upon and analysed through discourse based on a binary opposition as commonly done in a more scientific\/objective and traditional academic manner. The collisions between various vocal\/mental forces can be described as diffractive intra-actions by which reflection can be made possible only at a second step. Without the diffractive act (the crashing into the unexpected; or if one prefers gently encountering an invisible caress – perhaps by a wind or by someone blowing air into an ear from a distance) no free and\/or wild, ornamenting, reflecting act can occur. Like this the performance paper goes on and on. One ornamenting act leading into the next one and the next and the next. Always becoming something more or less, or something different. An endlessly expanding territory spurred by paradoxes and mad ins-and-outs. It all becomes a game between vocality, identity, location and territory, in which all of these have to learn the rules continuously, while at the same time being merged inside fast and irrational acts of truthful engagement.<\/p>\n

For Miranda Luna & Alma Luisa<\/em><\/p>\n

Prologue<\/h2>\n

Imagine yourself laying down on a bed placed in the middle of an empty hall in a 17th century palace. High above your face an amazing painting attracts your full attention. A fresco about forty by twenty meters in size. Enormous, amazing and wondrous. The image is overwhelming and seducing. Your eyes travel from one end to another. Searching to understand. To see and to grasp whatever might be of importance the gaze touches a particular detail. This moment is not at all a single unit. Rather, it is a moment incorporating passage, learning, seeing, sensing, losing, embracing; desiring whatever form that might appear within the specific detail. The following text has been ’painted’ with a similar technique as the fresco in the ceiling above your face (presuming you are still laying down). Words are shaped for a certain reason; melting into a surface sustained by air and presence of every kind. Simple words at first making impressions of extreme beauty, disgust, or vulgarity.<\/p>\n

At a second and third look the same words become intriguing details, coloured with a specific intent, a specific emotional state of being, a specific strength in unique colours. As a viewer you might try to take it all in. But you may see the impossible task above you. You can see and not-see. You can hear how something speaks to you from structures. You may try to penetrate a detail. Even if I don’t know what you might hear, I am sure a clear message will come to you. It might be ”Wow! This is no good”. Or perhaps you have passed through the image\/text already a long time ago having seen something completely different. Something that is far, far away from what the image actually is about. Yet, you would never have thought or seen what you see, without penetrating the image above you. Going through. Entering. Or becoming part of.<\/p>\n

You hear voices of a guide entering the hall, presenting the artwork to a group of tourists. Without looking at them you can sense how they study the image and its specific details. Nodding their heads while listening to the guide, as if they’ve understood it all. Thinking: “It is really not that difficult. Colours and narratives on a ceiling. Symbols and layers. Ok. Yes. Let’s move on to the next room.” The guide goes on and on. Explaining. Making sense of the mesmerizing image. You follow the words of the voice with your ears but also with your eyes. Something important happens. Something that doesn’t really have anything to do with the painting; nothing at<\/p>\n

all, with the information you are listening to; nothing new<\/p>\n

at<\/p>\n

all,<\/p>\n

But somehow there is a difference because of the painting. Its colours and its layers of symbols scattered above you matter due to being part of something much more complex while at the same time through such a simplistic appearance.<\/p>\n

This text is a fragment in a painting.<\/p>\n

Or even multiple scattered fragments. Multiple voices singing loud or whispering through their teeth. Expositions of something ridiculously simple and naive. But while you keep moving deeper, each sentence clearly becomes more complex than the experience you met at the beginning. Every word is coupled with movements being part of the film (exposed in the Research Catalogue www.researchcatalogue.net\/view\/210543\/210544<\/a> if you have decided to go there); with the walls of the great hall; with the windows still so beautiful with its old mouth blown glass. These are details. Encounters between eyes, hands, bodies, symbols, passions etc. All being part of this unforgettable image in the ceiling high above (you may soon sit up unless you haven’t fallen a sleep by now). Details and fragments – distant but in its honesty always blossoming inside any heart nurtured by desire.<\/p>\n\n\t\t