Transductions

* This exercise requires the collaboration of at least three collaborators, in addition to the enthusiastic adventurer.
** Steps 1 and 5 must be completed by the same enthusiastic adventurer, so that each participating collaborator is responsible for one of steps 2, 3, or 4.
*** The enthusiastic adventurer should endeavor to share with each collaborator only the step preceding the one they are assigned. That is, the person invited to translate a phase of the exercise will only have the immediately preceding step as a reference. For example, Collaborator 3 will only be able to see step 2; Collaborator 2, only step 1; and Collaborator 4, only step 3.

1. Write down a dream.

In my last two dreams, of which I believe I have something resembling a memory, I've been accompanied by three former friends who were special to me at different times in my life, both for their work-related learning and for how they changed the way I related to others: a white man, a mixed-race woman, and a Black man.

In both dreams, the three of them always appeared seated in the middle of a bright, almost infinite space of white and sky blue tiles. The calm and passivity of their movements didn't alarm me, and, although I haven't forgotten how perverse their particular way of surviving was, they seemed tired of just having to wait.

I don't know if they recognised each other beyond my gaze. Each one looked in different directions, and none of them met my gaze.

Perhaps they were united by a feeling of guilt, but each with their own nuances: the white man, arrogantly miserable; the mixed-race woman, self-absorbed; and the Black man enjoying a convenient bewilderment.

Their bare feet, in contact with a pool of water that seemed to be leaking from some pipe, moved and took turns getting wet.

The three of them were "there," as if waiting for something that was never going to happen.

The conversation at the train station would never happen. The voices seemed to want to start singing; their bulging eyes told me so.

(Chris Luza)

2. Interpret the dream as an animal.

3. Embody the movement of that animal.

Dragonfly Movement by Germa Machuca:

Snake Movement by Urpi Castro:

4. Create a short poem that represents the habitat of that movement.

Paradis
Poema por Saló Tomoe

Cielo bajo el cielo, páramo salvaje
Aquí la noche ha escondido sus noticias más puras
Sus secretos de niña, las pesadas estrellas
Convertidas ahora en un jardín solitario
Murmullos de un abismo que no osaré repetir
Que entre la niebla he buscado
Bajo la luna he buscado
A la mitad de algún duelo que no acabó todavía
Entre el deseo y la muerte
Hay dos criaturas que llamó
Eva en paraíso, Ave en paraíso
Retratos solitarios de un perfecto animal 
Ilimitado y vacío 
Yo no he de ver las entrañas
Que se confunden ahora junto a las piedras y el rio
Yo me perdí ante la danza
Palimpsesto de danzas
De la más grande entre ellas, de la inmortal, la elegida
Que defendió su reflejo como un escudo de barro
Hasta no poder mas
Se han abrazado en secreto
En el lugar donde habitan ambos movimientos
Hasta volver a ser una
Sin un pasado que amar, 
En ese páramo abierto ella selló su destino
Hacia un país de alabastro, 
No ha de volver todavía
Y no ha de oír la sonrisa que se formó en su costado 
Eva se hizo en la carne
Eva se hizo en el páramo

5. Create the sound that the animal makes when moving, and the habitat that houses it, using everyday objects.

The execution of these sounds must be recorded in audio and video, so that all the collected versions of the dream can then be put into dialogue.

por Chris Luza