A SERIES OF CRUDE FIGURATIONS


The creative deconstruction experiment on trauma has come to an end. The open call for artists is also coming to an end. The interviews collected by the historians are finished. The moment of contraction before generative action has arrived. In these days the names of the artists who will work on the words of others are being decided. Artists who will have to be storytellers. Disseminators, sometimes even composers, of stories in verse, with dramatic or passionate subjects, who at fairs and festivals will recite them in the streets, at festivals, online and offline, commenting on a series of crude figurations in which the story itself is represented.


It is therefore time for AD to close this little creative workshop born in the WE-Hope blog. We will always follow the project with a creative eye. From now on, the posts will focus on the work of the artists and the creation of the storyteller. To end on, we present the results of the creative deconstruction experiment on trauma.


CREATIVE DE-CONTRACTION EXPERIENCE

The last post ended with Do we have a common motif in trauma?

Below is a summary of the experiment and the results.

Following a little research into trauma and coercive symbolic forms of social reiteration of it, tattooing emerged as the most convincing form for a creative deconstruction experience at a distance.



It is significant to note that the author of the workshop participates by doing the workshop path that she proposes to the team. The evidences are:

No one knew (including the author) that the common area of dolo would turn out to be the same for all. No males joined in. No nation (except Italy) participated.



It seems that trauma works as a + sign attractor/activator. It is a recall of equal signs (equal scope of malice, equal gender, equal nationality). And at the same time it works as a - sign, as a repellent/distancer. (no other gender or nationality) with distancing, disinterest. Just like a magnet.

If we combine the evidence of this little experiment with the surprising presence and global diffusion of the term "Trauma" in the Greek-Latin-Sanskrit etymon, and consequent dissemination in many languages (cft WE-Hope blog 22.04.22), interesting scenarios open up.

It could be inferred that trauma is an archetypal symbol tattooed in the culture to which it belongs. Tatoo tabu that characterises choices and is the unconscious root of decisions, of individual and collective actions. It is so deep, obscene, embarrassing to conceal, to silence and at the same time so strongly identifiable as to characterise the action, to define its boundaries in the body, in ethics, in aesthetics.

It is therefore fundamental that the chosen artist(s) are able to make a vacuum in their EGO to remove the noise of individuality and leave space for the recognition of a series of crude figurations, commenting on which the story itself represents itself.


Text and grafics by Di + onlus.