Ecosystems: contextualizing process and production
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Archaeological process: to pinpoint appealing areas, to dig, to find, to clean up, to classify, to exhibit… To move towards not only the finality of things, but towards its origin as well.
The compartmentalization principle: to examine as detailedly as possible the constitutive elements and reclassify them. What is the pulse of a creative process? How can one effectively manage the produced matter? How can one devise an index that allows its central issues and motivations to be accessed? How can one establish intersections between artistic creation and other human activities? How can one enhance the precision of one’s tools?
Derivations, topographies, registers: to put words side by side, to promote vocabulary research, to promote intertextuality, to file every indication, trace, every circumstance that underlies the events, to challenge expectations, to collect facts…. How can one find the specific tonality of each unwritten score?
A process leaves traces behind, it stains the poetic patterns, it institutes a parallel existence plane. When what is between the lines is far more abundant than the text itself, a new space is breached open, a space sympathetic to the displacement that is naturally distinctive of the artistic object.
The collapse of translation: to each thing its own specific nature, its own substance, its own behaviour.
One must go beyond the initial constraints and reach a singular collection of words, one must create an encyclopaedia of furtive knowledge.
Words as bricks of a discourse’s universe that is materializing. Can the word become flesh as well?
The correspondence principle: to each product its own superstructure (base) ideology, to each mechanism its mode of functioning. What does a mechanism produce? An exchange zone, a grey zone, in which the body puts on its attitude and creates the visual incident.
Habit makes and informs. Habit makes the form.
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Joclécio Azevedo
Excerpt form the book "OPEN ESSAY: Nucleus for Choreographic Experimentation: Some Approaches to Artistic Production"
Edition: Objecto cardíaco, 2005
Translation and revision: Pedro Moura