Session #8

Adriano asks Diego Adriano responds on behalf of Rui

Magda asks Deborah Magda responds on behalf of Kasia

Rui asks Kasia Rue responds on behalf of Adriano

Lilia asks Rui Lilia responds on behalf of Muslin

Deborah asks Lilia Deborah answers on behalf of Flavio

Flavio asks Magda Flavio answers on behalf of Lilia

Kasia asks Muslin Brothers Kasia responds on behalf of Diego

Muslin Brothers asks Adriano Muslin Brothers reponds on behalf of Magda

Diego asks Flavio Diego responds on behalf of Deborah


Explosition - destruction - disentegration - turns to dust - burns - State of matter - from liquid to solid to .... Materiality - lack of body presence / absence low saturation - un-vivid things between death and .... remote things - ungraspable but valuable - far away - seeing it through other people`s eyes (remote viewing) - the gaze as making sense > guiding perspectives; seeing through filters, frames, importance of the frame catching the object (how it is held) vicarious story telling, personifications that are displaced in time/space/body, the experience shifts out of the immediacy of the subject into other bodies/times (future<>past) Bodies with properties - as opposed to subject without qualities, close to god. the body is not forever, the qualities decay, transform. family, familiarity (lack of or ... estranged, somehow missing something but not missing), something that is absent in presence. hyper-object, things that are beyond the human scale: feels like disaster, something catastrophic... sense of (free) invitation, receptivity in the bodies, Presence of the speaking figure - how the 'author' is present Gentle sensatization of the viewer - gradual arrival to something profound - suspended gift, raising into something serious The work as a filter, gently hold up in front of the spectator, to change angle, colour, quality etc. the question arises, what are we looking at (for)? in the sense of the filter/perspective. we are faced with our shadows/bodies but in a remote-viewing/vicarious perspective. Are we in that image we are looking at. feeling of violence without the violence.

Question by Muslin Brothers for Adriano Rui Answers on behalf of Adriano

During your presentation we were the object that changed position, while being with our eyes closed someone lead us to the new location, other senses become sensitive in order to estimate and evaluate ourselves in the space. where am I positioned in the space? Who am I standing next to? What direction am I facing? We were pretty occupied by that also after your presentation was long ended; A space for distance, A place of displacement Afterwards i checked the definition of Displacement In physics, Distance and Displacement are two distinctly different quantities. Distance is a ‘Scalar quantity’ that refers to the total movement of an object without any regard to direction. We can define distance as to how much ground an object has covered despite its starting or ending point. while displacement is a ‘vector quantity’ therefore has a direction and magnitude. It refers to the measure of how far out of place is an object. So for the question- Where would you find this kind of ‘Displacement’ present in your work?

Question to Rui Adriano responds on behalf of Rui Got in search for On Violence by Hanna Arendt and found a talk she gave in 1968. Here is the link : The subject of her analyses is of another kind and another time but very insightful about issues of power. I had to recall what you told us before we started shooting the last film: I am not sure it’s about violence but rather about pessimism as a component of life, the other side of optimism that forces us to eliminate, obscure, hide certain aspects of our lives in the hope of happiness.

Following your advice, I got the book of Lauren Berlant for a.pass, "Cruel Optimism" and in the introduction I read: "optimism is cruel when the object/scene that ignites a sense of possibility actually makes it impossible to attain the expansive transformation for which a person or a people risks striving; and , doubly, it is cruel insofar as the very pleasures of being inside a relation have become sustaining regardless of the content of the relation, such that a person or a world finds itself bound to a situation of profound threat that is, at the same time, profoundly confirming."

This sentence makes me think of the films you have been doing during the Looming Score. The way everything is already there stuck and perpetually unfolding, a kind of satisfactory pessimism.

I keep thinking about method and the frame and the camera and the editing and the instructions and the actors as a machine of dependencies! A series of situations (filming) where a group of people (actors) embody the machine. I could come back to Hanna Arendt and think about ‘action’ as the place of the political.

What is next episode?

Diego asks Flavio (Deborah answers)

In your presentation you took me through an intimate fresco with care, empathy, attentiveness…, you always let us see you fragile and tender, though without victimizing yourself.

I enjoy your skills to bring themes, actions or ambients from your narrative to the performative action you use to tell the story. In this case, the action tends to become invisible and “out of program” which is beautifully connected with the themes of the story, your position in the bolck/group and the "crossing borders" moment you choosed to do it.

You depicted images from your childhood that are there (in you) because of an inherited family narrative. I started thinking about oral traditions, about what remains within the family narration generation after generation. That immateriality shapes us up. I think in the voice of the mother as the first voice that gives you words to keep that narrative on; and finally, in the voice of the father approving or disapproving who/what/how you are, bringing that “Café con leche” feeling, that invisibility, that “out of program” status. 

In your personal path where scars speaks about wounds/burns and suffering as a healing process while it freeze the time of the event in your skin condensing many different times of your life, many different “you”, the scar plays a liminal function. It let all the material and metaphorical wounds by burns, by hot milk, by fire; all the frozen time, the many “you”, the mother’s voice bringing the narrative and father’s voice bringing the feeling of not being enough to this place where all merge.

I wonder which are those “not enough” that change depending on the context but are not infinite. What would be enough and for whom? Does the healing process end turning the “not enough” into a strength? If it does, how that strength would modify the narrative in that biographical fiction key and the discourse upon it?

Hello dears

Well, Flavio asks Magda. Muslin Brothers answers on behalf of Magdalena

Magda, this is in me after your action:

The relation of the immobile body with the outer space. Visualization, memory and imagination. breaking the outer space through inner space.

What is the space in this action. What moves the body in space? What moves the space in the body? What (how and who) draws time? What does time draw in me and in the space? What is the central "trouble" in your action that you want to stay with? What about expanding the trouble for the next and last round of the looming score?

Dear Muslin Bros. and Lilia who answers,

While watching your expo I was struck by the way the cut-outs were displayed.

The flatness of the large sheets of paper - in 2D - carried enormous reduction. Since all what I was informed about directly (the captions about certain technical solutions used in cloth making process and the procedures applied in a prison) and indirectly (my knowledge of a user, a person who wears clothes) related to a 3D experience. It felt as if it was so easy and unpunished (sic!) to magle the complexity of the matter, life, actions and present it like this, on the table.

Yet this reduction was not only troublesome, but carried also a quality of something pure, poetic, bare. I found this five minutes a meditation time.

Was is rather a meditation on some leftovers, like a shed snake’s skin - left when it reaches the point that the further growth is impossible and is ready to renew, or rather on death, stillness, loss?

Greetings Kasia

Deborah asks Lilia, Flavio responds

Lilia, you asked us to look as though touching, but we couldn't seem to do it, or we couldn't translate that into speech.

We mostly stood there, mute, observing, looking out the window at the fading light. I remember at one point being lost in thoughts of the outside, and then lost in what I could say to add to the description and, finally, giving up, feeling a bit guilty, and then feeling that we weren't up to the task or the task wasn't up to us. No matter how clear instructions are, sometimes we can't be made to follow.

Luce Irigaray says the sense of touch is "the sense that underlies all the other four senses, that exists or insists in them all, our first sense and the one that constitutes all our living space, all our environment. [...] This is the sense that travels with us from the time of our material conception to the height of our celestial grace, lightness, or glory."

If the attempt was to make seeing like touching, what would touching like seeing (sight at its most extreme or caricatural) be like? Skimming, scanning, gazing, scrolling, flicking through.

Would it make us more aware of how we touch and how we see? Does the negative path come to the same place as the positive?

Also, this is an aside, why do the rest of us get to watch the participants touching? Why aren't we all in the dark....


Magda asks Deborah Deborah, in response to the question that addressed the matter in the room we were in, your story took us out of it. You redirected our attention to what is happening now but elsewhere. The catastrophe that is maybe not-visible to us here but that is very actual to us. The place you talked about was not any place that you knew about but the place of your origin, that you are connected to. I want to stay with this personal charge. I want to ask you how would you work with this personal charge in/through the form of the presentation/ performance?