complete web of Matarile
First address notes for DAIMON Ana Vallés
Someone started composing. First it was a chicken. One alone
The stone woman rises and dances
(the first one on the front,
the percussionist's assault)
Everything on the table: the music, heat, summer, cut grass, hot body, strawberries
Crane voice. Bothersome.
Feeling of distance
And mom behind the hen, through a glazed glass.
"They say that the owl was the daughter of the baker. We know what we are, but not what we can be."
The worst thing is not that the landscape is hostile but it is indifferent.
Breathable space, space of possibilities, propitious to speculation, link divergences and deploy construction capabilities.
Building situations for what’s deformed, for daring the outburst.
Love and art intensify the feeling of being alive.
The theater is what happens, what happens to us.
Somebody said that you have to know how to leave the party when you're having the best time. I, at present, delay these pleasant moments waiting for the best part to come.
Let's talk about the famous subject matter. The theme or themes may not be the determining factor. They can be secondary, just a pretext (like Hitchcock’s Macguffin), a resource that distracts you in order to introduce something else. But they are not anecdotal.
So, what is the subject of the work, what is the theme? This is the key question! But there is no such thing! In any case, there are many subjects, or they are changing. And the same thing happens to them. Today one has more of a predominance or significance than another: for myself! Because they too are subject to the temporary experience.
The subject is transitory, impermanent.
The subjective position of the creator is a consequence of a “formal” choice, of ways of doing, of procedure or process. But it could be the other way around, and perhaps at the same time it is: the aporia of the egg and the hen. So the form determines the position of the subject or the subject is the one that imposes a formality?
In any case, a theater of people who are both object and subject at the same time; the person is the subject and the material of the work as well. But the subject predominates. Simply put, we could say that everything that is shown is subjective or, rather, the correct word would be “subjectible”
But the viewer is also subject. The viewer- and the way everything is complicated or enriched through her gaze. Each time a scene is presented before that subject, it is modified or transformed: attention changes, breath is different, context alters the “color.”
Memory is involuntary, they say. I don’t believe this. There is a reason why we say: Remember!
One decides what to remember.
My fear is that when we scan and reach out to grasp something from the depths of our memory, we do it from our current perspective of tourists, which is difficult not to do.
Benjamin speaks of the "aura" as an appearance of a distance. And of the “footprint” as an appearance of proximity. However D. Huberman points out that the aura is born out of a closeness of perception.
I like much more to invent reality than to recreate or reproduce it. And on the other hand I think that I do nothin more than put reality on stage, and that “true” reality is a pure fiction full of made-up characters.
Fate, the voice of conscience, intuition, creative impulse
Angel or demon, the whisper of the inner voice that detains or pushes
Meaning that we can interpret but not understand.
Soul, inner animal: deep, fatal, opaque
Hidden presence, unpredictable, that determines
acts and decisions that we can not rationally explain.
Sometimes hidden and sometimes two steps ahead
It occupies us, accompanies us, blinds us, drives us
It enters, though we close the door.