Dádiva e Emoção - CCHLA - Universidade Federal da Paraíba
Dádiva e Emoção - CCHLA - Universidade Federal da Paraíba
Dádiva e Emoção - CCHLA - Universidade Federal da Paraíba
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Ana was often able to hear the reverberation of<br />
terrified voices. For example, this occurred once in the<br />
empty Schonleinstrasse underground station. She was<br />
having a pulling sensation in her arm; it seemed to me as<br />
if she were being pulled back by a strong wind, but there<br />
was no such wind; she said that the material force of the<br />
grey light was there, that she was physically in contact<br />
with it. The hundreds of citizens that used the train every<br />
morning to go to work were grey lighted, and as such,<br />
subway passengers were un-deci<strong>da</strong>ble living bodies placed<br />
ambiguously between death and life. Significantly, it could<br />
be argued that western cultures have produced their<br />
institutions and categories of life and death. As such, in<br />
rational western cosmology life and death are usually<br />
understood as a dichotomy, and both institutions need to<br />
define and map their own parameters and spaces. Ana’s<br />
faces of early subway passengers were ambivalent; these<br />
indeterminate zombies were alive but dead, dead but<br />
alive.<br />
Death is nothing to be afraid of since according to<br />
Ana, when citizens travel on the subway “we are<br />
experiencing death in our bodies, even if we are not fully<br />
aware of it”. Thus, every time one jumps on the train, one<br />
is smelling –even if one does not consciously realize –as<br />
happened to me in Schoenleinstrasse- the imprecise<br />
experience of life and death, the present and the<br />
materially immanent past of the city in one’s own body.<br />
Ana often said that this intuitive perception of an inbetween<br />
and liminal sphere had its “intense smells”. When<br />
such smells were particularly penetrating, her face would<br />
blush dramatically. A long series of husky and loud coughs<br />
would take place. Then, she would scratch her nose<br />
repeatedly.<br />
The Flutes of Marzahn<br />
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The seduction of this material energy inspired my<br />
own work by encouraging the ceaseless transmutation of<br />
self and world in living contact and sound. Spending the<br />
<strong>da</strong>y with Ana was a gift. Everything seemed to be hereright-now-within-and-through-relations<br />
with bodily or<br />
material physicality. The intriguing capacity to be in<br />
contact with that which exceeded ordinary selves was<br />
profoundly enigmatic. At the moment, Ana and I are<br />
walking around in the vast and desolated fields of<br />
Marzahn. While dragging a stick along the railway tracks,<br />
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