Arte e Educação - Fundação Bienal do Mercosul

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broadcasts live what happens through Colifata’s
100.1 FM frequency, and a witness-recorder
registers what happens in the interstitial space of
those sensitive people who will say “present” before
anything. The aesthetic perhaps operates as the
driving force. This third party, the witness-recorder
will once again release part of the weft into the
social collective through a system of re-transmission
that will take shape in various formats according to
the characteristics of the platforms used (podcast,
micro-programme, false live, live, etc.).
Would aesthetic be something that sounds, rhymes,
moves and stirs? The aesthetic as a related fact: the
possibility for art, then? Is my listening “aesthetic”?
Is there an “aesthetic criterion” for the arrangement
or design of a space that houses what each individual
brings to it? A mechanism like installation?
Would what each person brings be sound in a
“particular aesthetic register” that represents it? And
if that particular way of being, seeing and
expressing the world had captured the individual
in pain and stereotype, what ethical approach
would I use in transforming his aesthetic? Would
that be legitimate?
At La Colifata we work to activate transformations
in the web. The meaning, a possibility. The
aesthetic, a particular arrangement beyond the
beautiful or non-beautiful. The objective,
cohabitation in the symbol: achieving the status of
the communicable. Language, the goal and place
of support.
Salomón Resnick says that aesthetics is the art of
“giving meaning” I ask myself: for whom,
according to whom, from whom?
Our ethical position will be to create conditions of
context, conditions for this particular form of
expression – for this aesthetics of the being – to be
able to emerge, circulate, connect (create ties) and
attain its dignity, thanks to an “ethical and aesthetic
criterion” that awaits as a hospital space,
presupposing a differential value in the person
speaking worthy of social exchange. That is central:
a governing principal, it is also to presume the
other’s ability to produce “difference” in the
encounter, engaged in the scale of the question
about the human.
Will our work will be that of being “official” recirculators
of human sound able to become a web,
meaning, symbol?
All human expression forms a particular aesthetics
and is valued by the person listening or seeing.
Our criterion will be – based on where we are
working – to presume that this individual is
“potent” for being able to make connections that
form ties within this web.
The epistemology of the actions is formed of
“Construction and “deconstruction”. We have from
the outset been concerned with webs as constructive
lines of meaning. Working for sixteen years with
“web-makers of diffusion” for constructing
meaning in the DRG (Group Radiophonic
Mechanism) and with “de-constructors” in the field
of imaginary social representations.
I have always thought that there is an interesting