All letters are moving in the space around me. Letters carrying a specific meaning for the one who encounters their shapes. Perhaps not only one meaning but a plenty full… These letters they come and they go. I see them and I listen both inward and outward. They trigger me to move. Their presence  urges me to take some significant decisions that will impact my next steps, thoughts and acts. It is in the most intimate encounter that something fundamental emerges. A floating-of-energies that sucks me into a world that can’t be avoided. A world that continues to expand.

Somehow the encounter in itself causes me to stay tuned with the spacetime to which I belong as well… the encounter hypnotises me … makes me want be an eternal observer of close encounters. Forever. Never wanting to stop enjoy the presence of the un/expected.

I ask myself  for what reason. I should add that it is not that I stick to only one encounter. It is rather that every encounter has its specific way of meaning-making.

In Glories to Nothingness my voice becomes equal to any of the letters or sentences that are projected in the room. Voice is in itself a projection allowed to twist in all direction. It is a selfish state-of-mind. Perhaps even a non-democratic, contradictive positioning of power, since such an act  isn’t my intention at all. The question is how do I allow the potential ‘selfishness’ to transform into an openness? (I need to stay with this question. A key….) My next move will be to encounter the embodied acts of Ariana Amacker through her recently presented doctoral thesis:

Embodying Openness. A Pragmatic Exploration into the Aesthetic Experience of Design Form-Giving (2017).

Amacker’s thesis on-line: https://gupea.ub.gu.se/handle/2077/52338

Translating as Artistic Practice-Led Research

What does it mean to move from an open vocal manuscript or an historical text from around 1640s, to a contemporary performance today in the 21st century? What is embedded in the understanding of ‘moving’? Moving from physical matter, to discursive matter, to vocal matter and then eventually arriving at trusting in the material discursive outcome. Could this ‘moving’ be described as a translation process? If so, which are the performative components that become significant in such a ‘moving’ translation process?

I am about to start a new phase of the research project GLORIES to NOTHINGNESS, and I start by asking:

What can one learn from an artistic translation process? What is the role of a poem? When is a poem translated into a song, into a voice, into something that truly matters? Is a poem describing a fact? Is a poem performing a sensation? Is a poem a translation in itself? What affects can be found in a poem perceived as an im/ex/pression?

These questions have asked by many without doubt. It is naiv to think it otherwise. But my own bodymind needs to move from NOTHINGNESS – from the white empty sheet – following a methodology based on a gathering of fragments, that eventually can help me to reconfigure the effects of moving through the process of voicing and trusting.

All poems in the volume were dedicated Anna Renzi romana, to her voice, and to her performances on the new public opera-stages in Venice around 1640s.