ENTANGLEMENTS

ENTANGLEMENTS
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Entanglements
A multimedia portfolio
by Elizabeth Torres
Den Danske Scenekunstskole, 2022
ISBN 978-87-94003-08-7
Red Press, Copenhagen, DK
All rights reserved by the artist.
www.delegationforthefuture.com

ENTANGLEMENTS
ENTANGLEMENTS
ENTANGLEMENTS
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TABLE OF CONTENTS
INTRODUCTION
SPECIALIZATION
-Play as System
-Playwriting Masterclass
-Suspending Disbelief
-The House of
Oscillations
PROGRAM MODULE
-Futures Literacy
-Alexandria Nova
-Artistic Response
-Artistic Research
INTERNSHIP
-Teater Grob
-ActInArt: Estonia
-Red Thread
PERSONAL JOURNEY
-La Loteria: Nocturnal
Sweepstakes
ENTANGLEMENTS
GLOSSARY
BIBLIOGRAPHY
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ENTANGLEMENTS
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PLAY AS SYSTEM
An ongoing masterclass with Sarah
Woods.
The purpose of creating a system, or
establishing a series of systems (better
yet, recognizing them) when writing
a play, is all about giving ourselves
choices.
Sarah explains that apart from seeking
purpose, a system allows us to set
parameters, understanding if what
we’re doing is useful, why it is so, and
where it is going.
The basic ingredients of a play are:
-Plot: The why/how – What we choose
to show
-Theme: Which helps define the
structure and rhythm
-The structure: Which Sarah defines
as the tupperware that contains all our
elements
-Characters: who
-Story: What
-Dialogue: the transitions on how we
get there.
Sarah explains that acts are like the
tupperware divisions of a play, which
divide not just the length but also
define the beginnings and ends, and
help us shift and define connections
and relationships.
Acts and scenes, she continues, are
individual transactional moments of
wants and needs. An understanding of
where you will be placing drama, and
the rhythm.
Plot and theme are revelation: These
elements can be removed from a play,
but you must know how to do so, so
as to replace them while maintaining
fluidity and their role
in the play.
Question:
Where do we
tend to start
our stories/process?
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Stories we are told
A workshop with Sandra Buch
Pay attention to the types of stories in the
plays and scripts you see. These can often
be divided into the 9 stories:
Cinderella: Unrecognized virtue at least
recognized.
Achilles: The fatal flaw (classic tragedy)
Faust: The debt that must be paid. (A fact
that catches up).
Tristan: Triangular plot.
Circle / Spider & the Fly: The chase. (Typical
detective story).
Romeo & Juliet: Win, lose, win back. Classic
love story.
Orpheous: The gift taken away. (Justification
for loss). Justice as closure.
Hercules: Hero adventure that keeps
going. Redemption story.
Jacob & Esau: The rivaling siblings.
Think about stories you would like to telll
and how you would tell them based on
these 9 structures.
What to look for in a story? BACKBONE!
How do the stories you are excited about
fit when told in each of these formats? Do
they give new perspectives?
PLAYWRITING MASTERCLASS
In applying this information
to the work of my own play,
I am able to define the
type of story I am writing: A
combination of Orpheus and
Romeo & Juliet.
I draw the structure of my play
in the form of its actual setting,
where the house is the past,
the present the beach and the
future the outskirts.
The characters are 4, with
a multimedia entity in the
background and the other 3
which I represent as dolls so as
to be able to ‘talk to them’ and
meet them, to understand their
needs.
I define themes as identity,
grief and displacement, and
as seen below, begin to mark
the roles that each of the parts
play, which facilitates the writing
process because from then on,
everyhing has a purpose.
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“Theater theaters everything in. So our job is to shove something
down its throat every now and again that it cannot swallow.” – Brecht.
A masterclass with poet, playwright, director and performer
Marc Von Henning
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SUSPENDING DISBELIEF
Marc spent a few days in Århus with the
Writing specialization giving a masterclass
on the importance of form, language, and
reality in theater. He explained that there
are 4 fundamental elements of theater:
-The visible / visual: content
-The audible: sound, music, (and yes,
dialogue)
-The language / intellect: associative
narrative, storytelling
-Audience: Interpreters of feeling. The
processors of the three other elements, who
in their minds complete their story.
Marc went on to speak on the textualizing
of forms, which can be done in many ways,
some of which are:
-Double monologue.
-Dialogue
-Reenactment (which Mark especially
recommended because he explained, this
makes an audience feel like they’re being
taken seriously. They can either get lost
in the story, or return to the room and be
marveled at the actors performance, the
setting, etc… They’re “in” on the plot.
-Translation:
Marc explains that bilingual texts provide
2 sides to every story, and that one should
look at languages as an aesthetic idea,
from surtitle to live interpretation. He
recommends looking at language from
an insular perspective, which allows for
understanding of tradition and environment.
“We are often made of more than one thing.
We’re often trying to reduce it, so as to
understand.” he poetically explains. Then
he continues: “Like playing an instrument,
writing is also about the notes you do not
play.”
Systems have a price, a value.
Steering towards: rationality, function,
associations, repetitions, composition,
compilation.
The poems that stay close, are the ones you
don’t understand.

Afterwards we learn of his past work,
including that of Primitive Science, and how
his main interest has been to focus on telling
stories or highlighting stories all around us,
or more importantly, to make his audiences
aware that we all have stories, that we are
often in search of making sense of them, and
this is how we also make sense of where we
are going, our connections, and do plenty
of stargazing along the way (looking at the
past, making predictions of the future).
Question: How to engage an audience by
giving the audience problems?
The idea of discomfort to help articulate an
idea, lead to meaning… the what, not the
how, is the beginning.
Question: How to relate to an audience?
How to treat them? what to make them
feel? how to involve them / affect them /
touch them?
A construct: build a connection – provoke a
response.
Marc highlighted that there is no need
of knowing what one needs to say, but of
knowing there is something to be said.
Putting direct opinions across misses out on
good material for stage.
The wonder of obsession and alternate
mind can open bigger connotations.
Stories are like tasks. They’re modules.
Models for other stories.
ENTANGLEMENTS: secrets we keep from
ourselves.
Hidden agendas.
THE BEGINNING: Work from inside out.
From a concept. a phrase. A part of a
story. Fashion everything around a moment
that needs to happen. An image where
the image originates. The claim of being
someone else.
When writing a play, build a tight set of rules
that cannot be broken, but are open in that
one can be free within them.
-Find this form and fill it with content.
-Authenticity can come, f.x, from a talk w an
actor to learn what moves them, and writing
based on these needs, a role that connects
with these emotions.
APPROACH: Writing for a person or
character specifically, moulding the story to
them.
CONTEXT: Juxtaposition. Personality traits.
Duality. When we fall in love, we learn to see
ourselves in the eyes of others.
IMITATION: Until you know your own voice,
take something we all know and give it a
different context. The pep-talk, the magic
act, etc.
Take the audience on a journey and let
them choose their involvement. Remove
some of the ground so the audience gets to
be invested in the investigation of the truth
behind the story.
SEPARATION OF BODY AND VOICE:
Influenced by Bunraku Japanese puppet
theater, is a method Marc is very passionate
about. In this type of theater, the stage is
divided in four parts.
CONTENT: Veer away from causes, opinion,
things that point out the obvious. Tolerances
and contradictions can be questioned
without patronising an audience.
OBJECTIVE: To break the usual standards
and build one’s own new structures. Recipes
for new thought.
LISTS: the use of lists to make connections
from irrational or uncommon territories to
thread them together.
LETTERS: There are different types of letters,
Marc explains, the epic (episodic) where
audience learns something, or aristotelean,
where the character learns something.
LECTURE: The format of a lecture for a
performance is interesting because, just
like in a TED talk, the audience is already
convinced or in favor of the subject being
discussed, and rather than needing to be
persuaded just wants to be pushed deeper
in.
The realness of storytelling brings truth to
any story, Marc concludes.
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PLAY: THE HOUSE OF OSCILLATIONS
Would you like to come
home?
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My play, The House of Oscillations,
combines various subjects I am very
curious in studying further: The
fluctuation of identity, the coming
and going of memory, the spaces
in between dream and reality where
our truths take new forms and allow
us to fully “see” ourselves.
This being my first play, I needed to
be able to “meet” my characters so
as to relate to them and understand
what they needed to say, so I created
dolls out of the 3 main characters,
ACHERON, LETHE, and MELINOE,
and had them sit by me during the
writing process.
Two of my characters, LETHE and
MELINOE,, are entrapped in ideas
of belonging, in processes of selfdiscovery
and the realization of
being connected to the same story
although in different parts of the
timeline.
ACHERON, on the other side,
literally, is really good at pinpointing
everyone else’s weaknesses but his
own: the fact that he can’t let go and
doesn’t dare to cross the river to the
underworld.
My fourth character, ERYTHEA,
is actually a projection that takes
place during small intermissions of
the play, to provide insight, poetic
relief or simply a moment of beauty.
So as to image this character I
created a video titled “ERYTHEA
SPEAKS”, which is to give the sense
of red space, mental affirmation and
mysticism that my character carries
in each of her appearances.
I envision the setting of this play
as in a beach, with an old house
serving to tell parts of the story.
The moments of the past are
represented within the house, the
present on the outside, digging
truth from the sand, and the future
/ unknown being represented in the
river, the waters and that which we
cannot see. As the play progresses,
the house of oscillations begins to
break down, fall apart, and slowly
tumble to reveal a new self, ready
to comfront the painful parts of life
that had blocked happiness from
entering and settling.
Below, the video ERYTHEA SPEAKS,
to set the mood. (and text on next
page).
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Vision I
Erythea is all red seas and red fabrics and red sands.
When Erythea speaks it is your flesh speaking, commands
vibrating and resounding in the room as if in a dream.
What is it?
what is it you are looking for?
is it something you lost?
something you left behind
something you cannot pinpoint
with your eyes closed?
does it have a shape?
a name?
a location?
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How does it taste
once you let it simmer in your
mouth?
What is an adjective?
Epitheton is adjective in Greek
it means placed on top,
appended, foreign.
The visible roots of the structure.
The connections beginning to
be made.
If you water them, they will
begin to bloom.
A whole language, bursting
from your tongue
the name of everything
horse
shallow
bird
sinister
memory
anger
flood
fragment
citation
survival
see it?
When you say blood, what color
does it have?
When you say BLOOD, which
direction does it flow to?
When I say BLOOOOOD!!! from
whose heart is it spilling?
Epitheton
as if to say attachment
and you would think these
small additions
would pass unnoticed
but adjectives are what color
the story
adjectives are how the world is
presented
how we know what codes to fill
our mind with
to see what you see
try it:
empty handed
hollowed womb
outside herself
deep agony
sudden truth
premonition
do you begin to see it?
do you begin to see it?

ERYTHEA SPEAKS
The structures come out of the
flesh
from the concave parts of the
skin
and spit out small roots
thirsty for water
but what is water if not a
realization
what they are looking for, you
see,
within the sand,
within the hollowness of you
an attachment
and adjectival tradition
a light that might as well blind
but instead chooses to be
miracle
a word, yes, a word
one you forgot a long time ago
but which tonight could save
you.
foreign
foreign
foreign
you are an adjective
in you the precise combination
of sounds
that can make from all the noise
a place.
There are many ways to tell a
story,
and yet your heart chose to tell
it like this.
Why do you think that is?
shelter
shelter
shell
shallow
shore
shadow
shhhhhhhhh.
Why do you think that is?
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THE FUTURE
“Crisis, violence,
unemployment...
globalization, economic
imbalance, insecurity,
social orphanhood,
misery...
-Listen, my friend...
You can’t spend your days
anxious about the fears of
our current world.
Why don’t you try taking
a walk through the frights
that the future promises?
You’ll see! What a relief to
be back in the present!”
Cartoon by Joaquín Salvador
Lavado Tejón, (1932 - 2020)
better known by his pen name
Quino, an Argentine-Spanish
cartoonist popular in many
parts of the Americas and
Europe, praised for his use of
social satire as a commentary
on real-life issues.
A popular internet
meme using the Toy
Story characters to
represent the common
anxiety that takes over
once the sci-fi images
of “the future” recede
and the reality of how
it might relate to the
present settles in
the brain. Inequality,
class division and the
uneven distribution of
goods make it difficult
for some to take time off
to imagine.
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“All theatre is political in the sense that theatre is not autonomous and is forced
continually to decide in whose service it acts.” – Sandy Craig (Unmasking the lie).
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The woman in the water
an audio novella by Elizabeth
Torres, Tabita Friis Kisrtensen,
Heiki Eero Riipinen and Anja
Bothe.
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Iron - by Tabita, Anja and
Elizabeth.
Workshop with Inger Eilersen.
This workshop was inspired
and heavily influenced by the
photographic creations of
Gregory Crewdson, American
artist recognized for his
elaborately staged scenes of
small town American life. His
photographs have dramatic
and cinematic qualities, and he
often has an extensive support
crew on site for proper staging
and lighting.
Inger provided a series of
Crewdson’s photographs, and
on the first day asked us to
go through the images and
begin asking questions about
it, based on the information
received. For example, of this
picture, one might ask, “Why
did the time stop at 5:05?” or
“What type of pills are those
on the table?” or “Where are
the father and child of those
photos?”. Afterwards we
divided in groups and began
to do in-depth studies of
the characters in the photos,
starting to imagine narratives
and interactions.
On the following days we
began to get acquainted with
Artistic Research methods
taken from Das Art.
We used the following
feedback formats:
Statements of meaning:
What has meaning about
what you have just seen
or experienced? What was
stimulating, surprising,
evocative, memorable,
touching, unique, compelling,
and meaningful to you?
Performers Perspective:
The performer says before
showing, what she/he wants out
of this session. The performer
formulates a specific question
that they would like to get
feedback on.
Affirmative Feedback:
Give only positive feedback
under the headline: This
worked for me.

Responsibility of the facilitator:
Points of attention.
What makes sense in what you have been
presented to.
What is stimulating, surprising, moving,
impressed, attracts you, makes sense or
appears unique, etc. Start
talking about it in a positive light.
The question of the idea?
A specific question is asked by the creator
that he / she would like an answer to from
the group. It is an idea
that the facilitator communicates with the
creator before the feedback round.
The facilitator can help identify the
question through several new questions –
not through answers.
Neutral questions from the group for the
study:
The group can ask factual and clarifying
questions to the idea. Try to formulate
opinions as neutral
questions. Encourage the creator to find
his own way, and do not tell them how to
improve their ideas
through your opinion.
4 “Gossip” round.
The group can only speak as if the author
is not there. You imagine what is being
said is not being heard by
the owner. Talk free!
Tips and Tricks (Associations)
1) Support the exploration with something
you know. Related to a book, a person, an
art experience, a
technique, an experience, etc. 2) add
ideas and suggestions that you came to
think of.
The personal letter:
The group can write individual thoughts
about the idea in a letter. Give your time
to do it – so it’s possible to relate to it
later in the round.
Write the sender on the letter so the
owner has the opportunity to return for
further talk about the contents of the
letter.
Point & wave effect
A detail of something that made particular
impression or based on that particular
starts with one in the group, the reflection
continues through the group based on a
detail in the previous statement. It s like a
relay effect.
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ARTISTIC RESEARCH
Post 033 - On Artistic Research
A workshop facilitated by
Sarah Woods &
Rikke Lund Heinsen, DDSKS.
Q: In which ways do you use
reflection in your work?
Rikke explained that there
are two types of positioning,
which she called 1st and
2nd position, and which I
interpret as 1 being personal
perspective and 2 being
distanced and referencial
perspective, that is to say, a
zoomed in and a zoomed out
view of the work being made.
Questioning refers to open
and innovative or different
questions, as in looking at the
object of interest from new
angles so as to pull the right
questions.
Then there’s listening which
is establishing a point of
view and attitude based on
the environment and the
perspective gained.
Mapping is the work and
journey visualized, stages and
difficulties of the process.
Lastly, contextualizing is the
acknowledgement of the work
in relation to the world, its
exploration and practice.
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When speaking of Artistic
Research, the word research
should be treated like entering
a new space, deepening
and expanding knowledge,
seeking. Prias must be kept
in mind, as well as sensing,
conversing and experiencing
in-flux. Investigations and
conclusions are important, but
not conclusive.

Research can be personal or
referencial.
It can be professional, like
networking or building an
archive of info, and it can be
academic by using inquiries to
establish “new knowledge”,
which is substantial new
insights in the field.
Practice as research
creates the shortest path
to knowledge. My way of
understanding this is by
relating to it through my own
artistic process of constantly
creating, researching, creating,
returning to investigation, and
by doing so creating a circular
movement that feeds content
to itself.
As a result of artistic research,
there will always be a product,
a record or documentation of
the process, complimentary
writing and framework of
influences.
In expanding the glossary,
knowledge is seen as an
understanding of the back
story, location and subject in
history / lineage / field of work.
Experience is liquid
knowledge that runs through
our system.
Hard knowledge is read,
learned.
Bodily, tactile, etc is embodied
knowledge.
The more we dive into the
field of Artistic Research, the
more I relate to it in my work
of always documenting and
creating from the information
around me. This leads me to
decide to do my final project
on the subject.
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INTERNSHIP
During my internship period I collaborated with
Teater Grob, a theater based in Nørrebro, which
is currently focusing on expanding its repertoir
to offer plays that engage in conversations on
diversity, inclusion and human connection.
I chose this partnership after a suggestion by
Inger Eilersen, coordinator of the internships
at DDSKS, who explained that not only was
the director of the theater, Sargun Oshana an
Alumni of Den Danske Scenekunstskole, but
also the theater is located 2 blocks away from
my gallery Red Door in Nørrebro, which would
create a great possibility of expanding my
local community and networking with other
creators also interested in BIPOC and LGBTQI
representation in our industry.
The conversations were not only in-depth
and very moving, but touching the subjects of
shame, of uncertainty, of ageing, and allowed
me to thread my own process to the ways these
writers work on their plays, making it more
approachable and familiar as a territory of work
for my future creations. I am very grateful for
the work GROB is doing and for the kindness
and support with which they welcomed me.
To learn more of the festival and its
programming, visit:
https://www.grob.dk/forestilling/pinkpavilion-2022-2/
Due to both my and their busy schedules,
we agree that the internship would be mostly
remote, and arranged a series of meetings
for check-ins throughout, with the rest of our
communication done via email. After a series
of brainstorming sessions, we agreed that
the most fruitful way to collaborate would
be through me doing a series of podcasts
with their playwrights for this year’s PINK
PAVILION, a festival which promotes emerging
playwrights through small production of workin-progress
plays and features the diversity of
the voices in the playwriting community. This
would help me in understanding the behindthe-scenes
process of each play and writer, as
well as help them make their festival known
in a more international manner, through a
collaboration that would conclude in the
publication of a chapbook or official booklet
of the PINK PAVILION festival, and a series of
sound clips and interview episodes for them to
promote the festival in the future.
You can listen to these conversations via
my podcast, Red Transmissions, which can
be found on Spotify, Apple, and most other
podcast providers, or simply by following this
link:
024

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THE RED THREAD
From march 31 to April 6 I coordinated an initiative I
temporarily named “Red Thread” during the previous
stage of applying for funds and recruiting participants.
The idea of this call was to create an alliance amongst
cultural organizers / performers / publishers in the
Nordic region, whose work is connected to literature
in Nordic languages or migrant languages in Nordic
countries. The vision being the idea of creating a
platform for the visibility of the stories and work of
people writing and performing in languages that
are not the primary language of the Nordic countries
they reside, so as to provide translation and support...
while simultaneously promoting Nordic “texts”
through their translation to other Nordic countries
and international languages that might expand their
audience.
Although we’re all publishers, and many of us are
poets, the focus was on multimedia arts and
performance, as we see this as the direct
link with an audience to bring texts to life.
The participating countries were Sweden
Denmark Norway Iceland and Finland.
A chapbook in over 10 languages
celebrates our first meeting:
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Thanks to an Opstart grant by Nordisk Kulturfond
I was able to host these international characters
in Copenhagen, representing the following
organizations: OsPressan in Iceland, Litteraturcentrum
KVU, Tranås at the Fringe and Kultivera in Sweden,
PEN, Bokens Hus and Runoviikko poetry festival in
Finland, Capelens Foslag in Norway and Red Door,
Tremella Radio and the Poetic Phonotheque in DK.
Dominic Williams from Write4Word in Wales, joined
us as an international affiliate thanks to the support of
Wales Councii of the Arts.
During our networking events we also hosted a public
performance evening at LaFee Verte in Copenhagen
where we all performed and invited others to join us,
also hosting an auction with donations from artists
and local businesses, raising 1500 euros for Ukrainian
artists and Doctors without Borders.
At my gallery, Red Door, we hosted a hybrid event
which screened performances live from Copenhagen
and simultaneously from Wales, as well as digitally
with people joining us from many other countries,
including the National Poet of Wales, Ifor ap Glyn.
Creating such hybrid events allows for the inclusion
of artists with neurodivergence, disabilities, and
participation of both local and international
audiences.
After our series of meetings we officially established
Red Door as an international alliance of collaboration
and support, with an additional focus on the education
of our own members through the exchange of the
knowledge we each already acquire. I am now in the
process of documentation and application of further
grants to begin organizing greater events, shows and
publications.
One last surprise that came from this event was
receiving an entire exhibition brought from Wales
by an artist who’s been documenting domestic
abuse and femicide in the country during the COVID
pandemic. I will not only exhibit this in the gallery but
already have requests of rotating this amongst our
own organizations. Viva la Red Thread!
027

ACT IN ART - WORKSHOP
THE CALL: The Nordic network for promoting an
entrepreneurial and activist mindset in the arts, invites
students to apply for the 5th edition of our intensive course,
located near Tallinn, Estonia in our own little village, just 15
minutes from the city. The course will be hosted by the ActinArt
network and the Estonian Academy of Music and Theatre.
For five days, roughly 40 students will engage in an innovative
artistic laboratory involving a wide range of facilitative and
learning methods such as mentoring, lecturing, hackathons,
group work sessions, workshops and open practices. The
program will provide participants/students with an opportunity
to explore co-creative and immersive methods, morning yoga,
reconnecting with nature (activewear required!), and with
fellow (human) beings (Sauna!), and more.
This year's theme:
Sustainable well-being*: Re-discovering the place for artistic
practices in times of biggest challenges.
028

THE SUM-UP: For 5 days, a group of students in BA and MFA
levels from the Nordic and Baltic countries, studying mainly
Cultural management and Music or Performing Arts, met
up in a beautiful camp 20 mins away from Tallinn to receive
workshops from ActinArt coordinators and external facilitators
on Sustainable Well-being, meaning maintaining a balance
between body and mind in order to be more connected
with our own artistic practice, the service we provide to our
community and our network. Although the concept was very
innovative and touching upon necessary subjects,
I found the schedule incredibly packed and hectic, leaving
little to no room for processing information, and by default, not
focusing on the sustainable well being of its participants, who
ended up missing the Yoga practices or being too exhausted
in the evenings to come up with productive conversations or
ideas. We were also put in groups to come up with a project
in 3 days and then had to pitch these projects to one another
and to an audience in the Auditorium of the Estonian Music
Academy, which was a confusing process for the groups, who
quickly had to dig in for passion to care for these invented
projects that would connect them with people they barely
knew in a long-term fashion .
There was a common thread in the projects created, which
all highlighted the needs for our communities to connect and
exchange knowledge and support.
I ended up having very difficult conversations with the
coordinators and in our round circles about Sustainable
Wellbeing needing to keep into account neurodivergence
and differrent thinking and creating styles, as well as how
it is necessary to shift our way of operation to remove the
need for production of products/projects that are disposable
or made for the sake or pressure of creating, and sadly, the
urgent need to keep diversity and inclusion into account
when doing exercises like “privilege walks”, which in my
opionion rely on the wounds of marginalized communities
being exposed so as to highlight the privileges of others.
All in all it was a productive experience. My network was
enriched, and I am motivated by seing so many young,
wonderful creators wanting to take action.
Somehow, along the way, I picked up a new project, as our
proposal actually won one of the prizes of 4000 €, so now me
and my new friends will be working on its development in the
coming months.
029

As part of my personal journey,
and in response to the questions
of identity and belonging that
emerged from the previous
semester, during the winter and
early springof 2022 I wrote a book
of poetry fully in Spanish, to regain
my roots as a migrant, my memories
as a political asylee / refugee, a
body in motion.
I chose to call this book “La Loteria:
Sorteo Nocturno - The Lottery:
Nocturnal Sweepstakes”, inspired
by the decks of divination and
entertainment used during the 19th
century in Mexico, the US and Latin
America called Loteria.
Afterwards, I illustrated and
translated this book to English,
afterwards releasing it from
my grip by submitting it to a
competition in the US, for the only
award in that country given to
Americans who write in Spanish.
By doing so, I reclaimed my story,
my voice and my language, setting
a new foundation for a more
connected self.
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YES PLEASE.

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PERSONAL JOURNEY
ENTANGLEMENTS
034
As a multimedia artist concerned with the subjects of community,
climate change awareness and adaptation, I preceive that the
path towards a sustainable practice is deeply connected with the
transition from artistic practicioner to artistic researcher, (and can
recognize many steps as fundamental to my own creative ritual) so
as to masticate, process, evolve and renew information constantly
and thoroughly. It is not just a question of recycling materials, but of
returning to the ingrained knowledge and updating it so that it too
takes new forms - becomes new insight, and allows us as artists to
express ourselves deeply while documenting the world around us and
our essential role in it actively. In my eyes, the artistic research field
is intertwined with the concepts of a multimedia or interdisciplinary
artist, always hungry for more tools, places, experiences and stories
to reinforce the process, and never wasting a resource, for all of it is
part of the final masterpiece. That to me is neverstop.

035

GLOSSARY
Agency : the capacity, condition, or state of
acting or of exerting power
Answers : something spoken or written in
reply to a question
Articulation : the action or manner of jointing
or interrelating
Artistic research: the documentation of an
artistic process, new results and knowledge
gained during the process.
Assessment : the action or an instance of
making a judgment about something
Behavior : the manner of conducting
Collaboration : to work jointly with others or
together especially in an intellectual endeavor
Community : a unified body of individuals
with common interests
Connection : causal or logical relation or
sequence
Creativity : the ability to create
Dialogue : an exchange of ideas and opinions
Discomfort : mental or physical uneasiness
Embody : to cause to become a body, or part
of a body, to make perceptible.
Emergence : penetration of the soil surface by
a newly germinated plant.
Penetration of the surface by new insight.
Experience : something personally
encountered, undergone, or lived through
Expression : an act, process, or instance of
representing in a medium
Feedback : a transmission : the return to the
input of a part of the output.
Flux : a continuous moving on or passing by
(as of a stream) of fluid, particles, or energy.
Future : of, relating to, or constituting a verb
tense expressive of time yet to come
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Identity : the relation established by
psychological identification.
Insight : the power or act of seeing into a
situation
Interview : a meeting at which information is
obtained
Introspection : a reflective looking inward
Investigation : to observe or study by close
examination and systematic inquiry
Knowledge : the fact or condition of knowing
something with familiarity gained through
experience or association
Mapping : the act or process of making a map
Material : relating to, derived from, or
consisting of matter
Meaning : the thing one intends to convey
especially by language
Movement : the act or process of moving
Network : an interconnected or interrelated
chain, group, or system
Participatory : characterized by or involving
participation
Performance : the execution of an action
Perspective : a mental view or prospect
Political : involving or charged or concerned
with acts against or in favor of a government
or a political system
Privilege : a right or immunity granted as
a peculiar benefit, advantage, or favor : to
accord a higher value or superior position
Process : a prominent or projecting part of an
organism or organic structure
: a series of actions or operations conducing
to an end
: something going on
Product : something resulting from or
necessarily following from a set of conditions

Production : a literary or artistic work : a work
presented to the public (as on the stage or
screen or over the air)
Questions : an interrogative expression often
used to test knowledge
Reflection : a thought, idea, or opinion formed
or a remark made as a result of meditation
Relevance : relation to the matter at hand
Responsibility : moral, legal, or mental
accountability
Retrospection : the act or process or an
instance of surveying the past
Scenario : a sequence of events especially
when imagined : an outline or synopsis of a
play
Source : a generative force : a point of origin or
procurement
Story : an account of incidents or events
Structure : the arrangement of particles or
parts in a substance or body : organization of
parts as dominated by the general character of
the whole
System : a regularly interacting or
interdependent group of items forming a
unified whole
Technique : a group of interacting bodies
under the influence of related forces :
an organized or established procedure :
harmonious arrangement or pattern
Territory : a geographic area belonging to
or under the jurisdiction of a governmental :
an indeterminate geographic area : a field of
knowledge or interest
Uncertainty : the quality or state of being
uncertain, not constant, indefinite
Unknowing : not knowing : lacking awareness
of areas of knowledge and ignorance.
Note: All the definitions from this
glossary were sourced from the
Merriam-Webster Dictionary, each
definition selected as per the
interpretation that best adjusted
to the artistic practices and
narrations of events described
in this portfolio. In the process
of compiling this list, certain
definitions were also modified
by the author of this portfolio to
complete their meaning based
on the conversations held during
the MFA workshops of the Spring
2022 at DDSKS.
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BIBLIOGRAPHY
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ENTANGLEMENTS
A DDSKS MFA PORTFOLIO
BY ELIZABETH TORRES
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www.delegationforthefuture.com