Arte e Educação - Fundação Bienal do Mercosul

the unforeseen, to emerge. This is recorded, and
then we try not to just make a quantitative analysis
(number of messages, etc.) but also a qualitative
analysis (for ascertaining what representations
come into play during this encounter). Open
radio means taking the Group Radiophonic
Mechanism to the street and fostering encounter
experiences.
Our other proposal is to change the axis which
seems to exist in the problematic of the stigma, to
approach it differently. This takes place through
the idea of going out into the community through
our “open” group radiophonic mechanism, in
which the patients are positioned as promoters of
healthcare actions, in, by, with and for the
community. In other words, the idea is that
patients address problems in the micro to radiate
out to the macro, taking into account the
problematics existing in concrete territorial spaces,
but which are of a global nature. Based on prior
association with organisations and training, themes
such as poverty, sustainable development, the
environment and citizenship etc. are addressed;
through the in-situ radiophonic mechanism, they
directly intervene in the community, creating
conditions for facilitating processes of collective
symbolisation around a range of issues. La Colifata
then offers communication platforms for radiating
to the macro what has been worked on in micro.
Colifata Solidaria proposes a change of stance for
patients; moving from psychiatric rehabilitation
to healthcare promotion subjects; moving from
the “object of health and social policies” to
”subjects promoting citizenship and constructing
the community”.
I shall now refer to the assembled mechanism,
what we call the Group Radiophonic Mechanism
(DRG), plastic-sound installation or multimedia
installation (I have used the term installation on
the suggestion of the Argentine psychoanalyst,
thinker, writer and group worker Marcelo Percia),
or rather: La Radio un sábado en el Borda (Saturday
Radio at Borda).
I will often use the word “aesthetic”, for which I
apologise because I know that in these contexts it
may be adulterated, mistreated. It may be a cliché
we resort to that says nothing. For me, the idea of
talking from the aesthetic is – I would say –
invigorating. However, I apologise if it seems a
little repetitive or naïve in this exploration of the
aesthetic.
I come to this Biennial thinking at a level of
language that goes beyond the word, and I reduce
the size or radiophonic practice to the weft of
sounds called up by the guaranteed promise of
their irradiation. The place where this occurs is in
the mechanism of reception and transmission of
human sound, and the aesthetic operates, in
principle, as intuition; it will make the period of a
Saturday pleasant or unpleasant; we will
experience magical moments among those when
something happens. Chaos will be a constantly
present contrast, the condition for creating magic
as a reference of the weft and its possible outcome.
The aesthetic will be the circular power between
the interstices of sensitive people meeting in a
yard where tables and chairs have been arranged.
The microphones cut across the space and the
loudspeakers amplify the voice. The aerial
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