A escuta da escuta

Abstract

This thesis sheds light to a research practice stimulated by the exercise of annotation. The artistic propositions engendered here are understood as thought in composition with written annotations. The listening of listening is a thought that wants to talk of the relations that occur from one to the other, poorly mediated, or mediated only through bodies. This work believes in the power of the word and image annotated as ways of saying of this minimal mediation of the experience through which the body lives. The listening of listening is a gesture that aims to be made, to be practiced, in places where there are too many words, in places where still there are no words, and in places where new words will appear. The listening is understood as an opening movement that circulates and returns, goes to the political world (searching for what belongs to the common order) and returns to the intimate, then goes back again to the common, and so on. Approximating two shells, inventing a manner of picking a book that does not exist anymore from a library fire, observing roadkill, observing the affective tail of the domesticated dog, reading a story that strikes the eye in the newspaper, all of that without producing almost nothing, but sustaining a place that wants to make things move, to remove them from the past and to move them around the present of annotation. The authors (Roland Barthes, João Barrento, Jean-Luc Nancy, Jacques Lacan, Kazuo Ohno, Manoel Ricardo de Lima) and the artists (Nuno Ramos, Leila Danziger, Marcel Duchamp, Allan Kaprow) with whom this work dialogues, their notions and concepts, operate more as poetic intercessors than theorists, therefore, they are linked by their details. Finally, the listening of listening, as ethics, as a way of life facing (and with) the world that, each day, presents its barbarism, will always be an exercise in which there is no place to be reached: the practice of listening is the very place that is always to be concluded, demanding the body in a purposeless activity. This research rehearses sustaining this uncertain and unknown place while feeding its own experience, remaking its daily bets. To maintain this kind of posture before common and personal ruins is where this work believes that the force of art may be more potent and more useful