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una voce

quando ho cominciato il ritiro c'era la neve.

il ritiro non è esattamente una decisione, non si programma. Non il suo inizio almeno. 

accade. eppure è una scelta.

le cose intorno emergono. si aprono. fanno senso tra loro. l'una rimanda all'altra secondo un senso misterioso. la direzione è chiara, ma ignota. ignoto è  quello che ancora deve venire. la concatenazione è certa come l'equilibrio.

un riflesso del viso del futuro sciamano appare. non bisogna lasciarsi abbagliare da quella. il percorso è lungo e ricco di rinunce. non si può guardare alla meta ancora con gli occhi del profano. il novizio intuisce ma non vede.

entrare nello sciamano è come morire.

le cose parlano.

A mythopoietic reading (by unicorn and other spirits) of the actual and imaginative space through the figures of transit and trance.

How to read what has never been written? (1)
Writing develops as a transcription of a divinatory reading. In divinatory reading material support for divination and a series of more or less open rules is needed. For me the question is open whether the material support is previous or generated. The words that "describe" the imaginative process are the material support to be interpreted. In fact, they take on a life of their own, generating other spaces of imagination. Starting from active imagination exercises proposed to others, the narrative develops through a macro-exercise of active imagination that connects them into constellations, which addresses the reader directly, imagining it as absent and inviting him/her to take part in writing both in its imaginative and real space.(2)

~ the trance:

The research could be considered scientific, if we did not want to do it in all ways in open opposition with the idea that knowledge is limited to European-centricist, technocratic western knowledge modes. To "scientific" then the word "radical" is preferred. It makes radical use of the a-causal connection tool of synchronicity, suggested by Jung and developed for the present research through tasks given to the participants, to the reader and incorporated by the writing exercise. This instrument, as happens for example for the Tao philosophy or for many non-European knowledge, develops from the idea that mental states correspond to real states and that one affects the others in a-causal relationship but precisely synchronic.(3) The evoked spirits have their own life and redefine the boundaries of the creative space by appropriating the act of writing itself. This is not a fiction. Or at least this fiction does not happen at the level of the written text but at the level of the performance of writing and reading. They therefore make a leap from intellectual space to political space. The mythopoietic takes on the characteristics of a micro-political practice. A process of singularization and an invitation to open spaces of re-meaning of the world



~ Transit: 
Transit is the margin place chosen . It is a figure and at the same time a place. As a figure,it is a recurrent figure in all the spirits / images that, as they are in transit in their identity (defined as an indefinite birthplace, indefinite abode, multiple sex, without documents ...) find themselves at the political margin of the recognition system. 
It is a place as a place of observation and as it is the place inhabited in the time of reading writing, cuz continuously redefined. 

The identity of the reader writer itself is in transit. The transit is not defined or delimited from one place to another in the statement that there is no other place outside the transit. (statement which so move it immediately from the margin to the whole, or makes of everything a possibile margin (4)) 
The division of places (as marginal or central for example) exists as imposition of the European-centric, Cartesian political space that places the normalized subject in division of the imaginary world from the actual one, educating him/her to be the guard of this division.
If we then assume this norm, we can say that the transit is placed between the imagination and reality as spaces normally (except for psychiatric confinement) defined.
In fact, however, this practice assumes as a privileged space the one of the political margin of the abnormal, of the abject. In this sense - and not limited to the sphere of gender or to the sexual sphere (as usually understood) - it is a queer practice. De facto, yet, it also assumes an idea of ​​expanded sexuality that runs parallel to at least the whole field of language. This is the basis of an exorcism of the rule and an eroticization of the research.
In fact, this research wants to get rid off the norm.

The research concerns the possibility of creating a magic-enunciative text. The text aims to be a magic-enunciative text. The space generated between reader-writer text becomes a real space in turn mappable. The text is currently the mapping of this space. The text acts as a map for orientation and at the same time it registers and reintegrates the reader's travel experience. Words are magical because, in complicity with the reader, they evoke their very existence, like a contract without an institution, set up with reality. The condition of possibility of the text is on the other hand the performance statement of the existence of this place, i.e. of being a shaman in trance in transit.(5)

++ Research on the creation of a cosmogony in transit: the text is based on autonomous research and self-developed experiences of imaginative journeys then shared with other interested parties. Following the encounter with shamanic "literature" it founds a familiarity of forms and use of language. It then decides to integrate, let himself be contaminated. or better to think with.
In linguistic terms it finds an access zone recognizing the nature of language as metaphorical. (6)


The Yanomami, a native population of the Amazon rainforest, designates our written language with a series of expressions that refer to their practice of abstract painting of the body "Drawings of words. Draw points".

the media on which we write or collect our images, magazines, newspapers, books have gained the wonderful expression, concrete as much as poetic, "Skin of the image", which here gives the name to the domain of the site.

It may be that we are not allowed to know the thought of Omama (7) through our language. But that words can be expanded, turned, crossed and that we can get through them and be transported far away.

[End of chat conversation]

(1) from G. Didi-Hubermann, Atlas ou le gai savoir inquiet

(2) for a theory of the other as constitutive absent, I reference to Alenka Zupancic, What is Sex?, MIT Press, Cambridge, 2017

(3) for the idea of Synchronicity as a-causal connections as the active imagination practice I refer to C.G.Jung, Il Libro Rosso, Bollati Boringhieri, 2012 and C.G. Jung, La sincronicità, Biblioteca Bollati Boringhieri, printed 1980, written 1952.

(4) see the idea of perspectivism in Eduardo Viveiro De Castro, Métaphisiques cannibale.Lignes d'antropologie post-structurale, Presses Universitaires de France, Paris 2009

(5) I refer here to the text to be(e) you will maybe find further.

(6) refer to Olivier Reboul, La retorica, Discorso Figura, Edizioni il Castoro, 2004 and

"Etymologies" in Paul B. Preciado, Un appartement sur Urano, Grasset, Paris, 2019.

(7) Davi Kopenawa and Bruce Albert, La chute du ciel. Paroles d'un Chaman Yanomami, Terre Humaine Poche, Plon, 2010

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