— conclusion —
Now I would like to take up again the idea of the project as a summary of the main characteristics that I have spun throughout this thesis which, emphasising what I said at the beginning, rather than an autopoietic analysis of the characteristics of my existing works so far, I have outlined it to fulfil a projection role towards a potential artistic project to be developed under the analysis of certain texts and works that operates on the issues raised.
These characteristics and categories of place-making art, which focuses on the description and understanding of space in its human dimensions to articulate a discourse mediated by the use of technologies and/or digital media, allows a sensitive communication between diverse spaces.
I propose for the project then, the task of communicating two spaces that are “originally” devoid of as much information as possible. I imagine it as two black boxes that can be filled with information deliberately chosen by me to characterise two spaces with which the audience can identify with and in this way be very clear when it comes to understanding from the very beginning that we are interacting with a different-other space. Different from the one where the play takes place for this audience.
Regarding the communication that is established between both spaces, I think it is best to delimit it within a score-script and to be able to control the main events that occur dramatically throughout the work. I would then use what has already been defined before as communication between performers without looking for improvisation as the main source of the production but also without discarding it.
In this regard, if I had to choose an instrumentation now for the work, I think I would like to choose a maximum of three performers for each space. These small ensembles should include musicians, dancers and/or actors, although with regard to the message I would prefer to keep the spoken material to a minimum and, if I could do without the spoken word, I would do so.
I think this would give the work a special mouldable feeling to communicate spaces, which is not necessarily through speaking a specific language and would allow us to focus on the transmission of other types of sensibilities: defending and highlighting that the understanding of identities is always coming from the experience of sensibility and not from the exercise of rationalising sensibilities.
Then there is the role that the media would play in transmitting information from one place to another. In this sense I would like to contribute to the construction of a system that allows the audience to play an active role by making decisions and having the possibility of altering what is perceived from the other space about what the performers on one side are trying to communicate or understand.
This brings us back to the central message of this work: the problematisation of communication between distant spaces but adds a factor of awareness and highlights the role we play as actors every day in the communication that occurs between spaces: either in the almost naive effort to transmit all the information that is poured from one side or in the premeditated decision to filter some of the information produced either as a nuance or directly by extracting certain information.
The feasibility of this project implies an important technical and personnel deployment to be taken into consideration before its implementation. In this sense it seems reasonable to write a series of works where these themes and ideas are developed step by step, thereby increasing both the complexity in its dimension of technical difficulties (both for hardwares and softwares) and in its complexity of content and technical tools occurring simultaneously.
As a consideration that could enrich the final result of the project, it should be noted that although in the abstract this piece it is intended to be developed in two “black boxes” for the imaginative offering that allows for them to be filled with different contents, performing the work in concrete spaces, non-artistic places but significant for different cultures-identities, offers a symbolic and significant richness for the project. Prividing the possibility and the challenge of sensitively discovering a physical space with characteristics already defined to take advantage for the exercise of punctuation.
As previously stated, the suppression of language is a tool to be explored in a work that deals with a social phenomenon, but it is justified insofar as I affirm (and have maintained throughout this thesis) that this search for understanding and communication comes from a sensitive feeling and not from the attempt to limit the phenomenon of understanding and have empathy with what is defined as an “other” to the rationality of verbal linguistic expression.
The idea of the active audience, which is a phenomenon more than developed in the art of the 20th and 21st century, adds a critical dimension to the role we play as individuals in the globalised communication of our era: whether in our personal decisions regarding the use and how we use, for example, our social networks, or in the act of denouncing those who claim that technology plays a passive role in our daily lives.
Although this work is born from an urgency to communicate a phenomenon that is absolutely political and that strikes me as a person, I would like this work to reinforce the understanding that the political situation is communication, independently of the content treated within itself. That is why it has been proposed to suppress the use of any verbal language in this work. All of this even if in the end the final project deals with this specific political phenomenon, as its story has to do with a personal dimension and it is the point from where all this reflection about spaces emerges to me.