Wankun Daniel Vigil
(Universidad Complutense de Madrid)
previous note:
If your ears get these sounds, because it also has rules nomadism -Passports, immigration cards, return authorization, archiving, etc .- and I had to resort to a given voice to a female voice, I hope, to say what I wanted to tell. So it's a voice that conveys a count from a foreign land, through a subject that makes avatar in this world of metamorphoses and changes ... Metaphor, Ricoeur would say, what happens today. Count from a foreign land, a strange voice of a subject missed.
As we have said on many previous interventions, the idea of \u200b\u200bthis conference grew out of academic meetings in which philosophers, psychoanalysts, artists, and get a sign-in various Latin American countries and various regions of Spain have been sharing similar concerns on this subject of miscegenation. My first proposal for the participation titled "Let me tell you, Lima. How to tell / sing (it) in a foreign land? "For various reasons the subtitle became the title and came a new subtitle, Subjects-nomadic or nomadic, as I like. This had to join under more restrictive, but not exclusive or exclusive-psicoanalítca the eyes, proposing this conference, to finally put my statement in this Roundtable devoted to oral narratives, with two previous presentations, that of Michael and Mary-and a subsequent conference Music and Mestizaje.
So my proposal for this Committee will play with this position, completely virtual, where I am, between telling and singing, between psychoanalysis and art. Difficult position in which I find so powerful as the previous interventions such as the following. I hope that this purpose of a link between and another space, it becomes satisfactory.
In the beginning was the Word
proposed Martin Heidegger's famous question "why is there body and not rather nothing?" In his work What is Metaphysics? I would like to start wondering why no word and no more silence? The paradox of this formulation is that I need to formulate words. The other way would be the simple silence, therapeutically Wittgensteinian mode, which proposes the show before, when it becomes meaningless. But even then, he also served the words, as this step which would later have to discard, having attained the desired objective. In a poetic way, my good friend Martin Rodriguez-Gaona it comprised:
Why you love the words / writing about them
should realize that our life is made of words and silences, to say and shut up. We have never experienced the utter silence, because apparently that would lead to death, and we could not tell, at least in person. The answer to this question asked "why the word and not rather the silence would, therefore, the type of response that we could give" Why better breathing and not suicide? "If we're here because we chosen first.
However, it should ask what the are the contexts of use of our word, now is the later Wittgenstein who emerges with the pragmatic use of language games. I confine myself to tell and sing, but from a limited context: the foreigner.
ONCE UPON A TIME .... Or find the subject.
"Who speaks when I say?" told us at the time François Valleys, when we participated in the workshop of philosophical methodology in my years of College in Lima. Who is hiding, and who appears, when I exercise the task of counting? When we started to tell a story, assume certain conventions, like starting, for example, with the words "Once upon a time ..." followed by the central character or characters. But when we were told, narrator and character are connected, intersect, almost co-melt or confused. Are identified or recognized. Note, however, that this identification or recognition is not reciprocal or mutual. I, as subject-narrator narrate pretend that I am someone else when I narrated. I identify with fiction. The subject told, meanwhile, has the ability to interact with the narrator. Here are some of these fictions:
"When my father died, my sisters and I found a handwritten draft of the final message that he wanted to leave us. Began by recalling the history of our two families-his, Ghana, and our mother English, which for him represented an overview of who we were. But then he added: "Remember that you are citizens of the world." We said that whatever place we choose to live, and as citizens of the world, no doubt that we could choose any place that we receive, we must seek leave "Better than we have found [...] This notion of leaving a place" better than we have found "was much of what my father meant by citizenship. It was not only belonging to a community, it was held responsible, along with her, her destiny. [...] Growing up with this father and an English mother [...] I never found it difficult to live with so many such loyalties. Our community was Asante, was Ghana was Africa, but it was (in no particular order) England, the Methodist Church, the Third World. And now, in his final words of love and guidance, my father also insisted that it was all mankind " [ii]
well Who is Kwame Anthony Appiah writes in his Ethical proposing an identity rooted cosmopolitanism or a cosmopolitan patriotism, where we are invited to a globalization of human rights, maintaining the commitment to human dignity and personal autonomy. And how do you accomplish this? Through a cosmopolitan conversation, which concentrates the social character of human beings. Social character is expressed in three ways:
· mutual dependence (we are unable to develop on our own, we need human upbringing, moral and intellectual education and practice of language to be whole persons),
· As an end in itself (we want to relate to others: friends, lovers, parents, children, colleagues , neighbors, etc..), and
· for its instrumental value (many things we value-literature, art, education, money, culture, food, housing, etc. dependent society.)
Who is this that we count? Is someone who realizes that need, want and value to another. How has it come to this? My proposal is to think that this is possible by the nomadic nature of the subject. This reiterates Appiah:
"The nomadic longing is deeply rooted in us. Just about a hundred thousand years out of Africa the ancestors of human beings who now inhabit other continents. It did not take much too long to cover the planet have always been a kind traveler " . [iii]
SUBJECT NOMADES
In academia, the reference to the nomadic subjectivity has a name: Rosi Braidotti, who coined this taking the reference term la pensée nomade nomadic -thought-of Deleuze. Listen to her, with his fictional narrative autobiographical
"I was born in this corner of northeastern Italy that was colonized several times before being finally Italy after the First World War. My family emigrated to Melbourne, along with millions of compatriots. I grew up in the metropolis polycultural of Australia, when the policy of the "White Australia" was replaced by the opposite version of multiculturalism. The great common denominator of all European immigrants was a negative identity, that is not British. This is the context I discovered that, after all, was a European, which is far from being a unique identity, much less a stable identity. [...] I had enough knowledge about the history of Europe to know that this identity has never been a . the mere evidence of countless ghettos where immigrants lived testified diverse and inclusive nature. So, to discover my "Europeanism" was an outward movement and opposed that, far from giving me the security of a sovereign identity, once cured me forever of any belief in the sovereignty. From reading and critical assessment of Foucault's sovereignty, it housing became a cake frosting ingredients of which had already been selected, mixed and baked with great care " [iv]
At this point, should be clear that the proposal on identity is that of a multiple identity, not only or essentialized, but rather unstable Mobile:
"The identity can not be understood as a foundational issue, based on a biological fixed essences , psychological or historical conferred by God. On the contrary, we must consider that identity is constructed in the act itself that presents itself as the anchor point for certain social and discursive practices. Consequently, since this is not the essential question: what is the national or ethnic identity?, But rather, a critical question and Genealogy: how is it constructed? Who built it? Under what conditions? For what purpose? " [v]
The purpose assigned Braidotti is very clear: it has a political purpose:
"The nomadic subject is a myth or a political fiction that allows me to restate the established categories and levels of experience and navigate through them [...] The nomadic consciousness is a form of political resistance to any hegemonic and exclusionary vision of subjectivity. Nomadic consciousness is analogous to what Foucault called the Counter: a way of resisting assimilation or homologation with the dominant ways of representation of self. [...] Accordingly, nomadism refers to the kind of critical consciousness that resists settling in the modes of thought and social behavior encoded. What defines the nomadic state is the subversion of set of conventions, not the literal act of traveling " [vi]
This form of resistance, our author's drift into a series of changes, or transpositions:
· Transpose moral debates: translations
· Transpose difference transactions
· nature Transpose: transplants
· Transpose Subject: transit
· death Transpose: transcendence, and finally
· Transpose the future transmissions.
In this nomadic ethics would [vii] . It is "the ability to adapt and develop suitable instruments for navigation within the changing landscape modern technology, etnificados, widespread globally mediated world" [viii] . The recurrence of the metaphor of territory, cartography, wants to allow us to "situate" think from "a place Specifically, although we fit precisely the ease of moving:
"nomadic subjectivity means crossing the desert with a map is not printed but chanted, as in the oral tradition, is to forget the forgetting and take the trip regardless of destination, and, more importantly, nomadic subjectivity refers to becoming " [ix] .
But what is a map chanted? It is time to approach to this other part of the title.
SONG
Territoriality has to do with music. The music has a de-localized and re-territorializing. Let me explain through an example:
"A child in the dark, gripped by fear, calms humming. Walk, walk and stop in accordance with his song. Lost, or blanket as it can hardly be directed to your song. That tune is like the outline of a stable core and quiet stabilizer and a tranquilizer, within the chaos. It is quite possible that the child, while singing, jumping, speed up or slow its passage, but the song itself is already a jump: jumps from chaos to a principle of order in chaos, but also risks disintegrate. There is always a sound in Aridna thread. Or the song of Orpheus. " [x]
The example is from Deleuze and Guattari, in the chapter of A Thousand Plateaus called" The refrain "-" From ritournelle " in original version. The music, the song that is repeated, the chorus-like Let me tell you, Lima ... - allows the child in this case, leaving the world of chaos to go to an order-of Chaos for the kosmos Greek. But it is a temporary order, he should break that circle of protection again to continue his journey. And the music follows the same path, or rather he follows the path of music: these breaks, silences and sounds, high and low, bass and treble, humming and letter, of pure instruments and vocals.
turn now to the question, parked for a moment what is a map chanted? Is the path that the child is singing that ditty, the refrain. There is a path laid out, printed, given free movement ... is marked by the sound of the experience and the experiences, fears and desires, memories and forgetfulness, the persistence, the refrain, which We return again and again that slight stability that allows us to walk. A few months ago in Puerto Maldonado shared a contemplative dance workshops, and fell into the account, and made them fall to them-how walking is the mix of security and insecurity, to put a foothold and the other in the air, We can not walk two feet in earth-nor, of course, both in the air. And that dance is composed of this: to harmonize our security and insecurity. What is said about the dance, rhythm, also applies to music-experts are in this audience who can correct me if necessary. The nomadic subject, therefore, can jump, dance, singing, walking in the number of identities with which they are engaged. Here's another fictional autobiography:
" [ ...] the history and origin are not the only way to see ourselves and the groups they belong. There are a variety of categories to which we belong together. I can be both Asian, an Indian, Bengali with Bangladeshi ancestry, an American or British resident, an economist, dilettante philosopher, writer, especially in San s CRITO, strong believer in secularism and democracy, male, feminist, heterosexual, a defender of the rights of gays and lesbians, with a nonreligious lifestyle, from Hindu, Brahmin and not not believe in life after death (nor, for that is ask the question, believe in a "previous life"). This is just a small example of the various categories of membership that, under the circumstances, to mobilize and commit " [xi]
The metaphor, however, chanted map , crossing the desert has made me think in that context is not yet developed, or seen so far from his backhand, "that is foreign.
HOW TO SING IN STRANGE LAND?
If you ever lived abroad for some time, we have the pleasant experience of knowing how well we can listen a song of our land when we're far from home, though perhaps closer to the motherland or phratry [xii] -. We even encourage you to sing-and dance-and not merely hearers. The nostalgia gives way to joy, euphoria. It seems that we would not be problematic to sing in a foreign land. However, there are contexts in which it committed to, and as I said, a reference to the desert and chanted map quickly brought me to this context of Psalm 136:
along the canals of Babylon
sat to mourn with nostalgia of Zion
in the willows on its banks
hung our harps.
deported there that we
invited us to sing;
our oppressors, to amuse:
"Sing a song of Zion. "
I sing a song of the Lord
in a foreign land!
If I forget thee, Jerusalem,
that I was paralyzed hand right;
that tongue cleave to my palate
if I do not remember you,
if not put to Jerusalem
at the top of my joys [xiii] .
Can you sing a stranger in a situation of oppression? Can you sing a hostile foreign land? The deportees from Israel to Babylon consider the act of singing as an act of infidelity and neglect to Jerusalem his land, his country, his God. So if that happens, ask to be paralyzed his right hand and not to touch the lyre, hanging on the willows and emit no sound and no, "or that they were sticking your tongue to the palate-not power make a sound and well keep silent. We have here an example where silence is not the word that should be emphasized, the nostalgia overpowering joy, because only the country-not the memory, but being in it, in its land, is the highest their joys. They trust that God will change their sorrow into dance, her mourning gown, as beautifully described in Psalm 29:
"You changed my mourning into dancing,
I removed the clothes of mourning
And clothed me with joy;
why I sing without rest:
Lord, my God, I will give thanks forever "Psalm 29, 12-13.
DREAM AVATAR AND TOTEM: SUBJECT NOMADES SINGING IN STRANGE LAND
I conclude this journey of nomadic subject to this reference to sleep, to dream, I hope that no one would have occurred during this story, if so, ask him to wake up ... 1, 2, 3. And here come the click of the fingers, and again in the auditorium, at this round table, some perhaps wondering what am I doing here?
Wittgenstein wrote to his friend Paul Engelmann in 1917 this sentence:
"Our life is like a dream. But the best times we woke up while we recognize that we dream. However, most of the time remain in a deep sleep. I can not wake myself. I try, my dream body makes movements, but no real moves " [xiv]
Borges radicalized this idea The Circular Ruins, published in their Fictions in 1944, so that the character was dreaming, just understanding that it is only a dream, that someone else is dreaming [xv] . And finally, through the adventure of The Matrix and Avatar of - we Inception - Source , as our language, which I think is a great visual and conceptual proposal that subjects can be nomadic [xvi] .
Five identities, each an avatar of the real subject, which run in parallel at different levels of sleep, someone who dreams, dreaming, dreaming that dream, but with different temporal impact-one minutes at a level equivalent to hours of sleep at a different level, yet, bound in different elements dreams let us know if we dream, as Wittgenstein tells us, "we wake up while we recognize that we dream" or not. In the latter case, a totem, an object that allows us to recognize when we are awake or dreaming.
We nomadic subjects with multiple identities, we address different levels of reality in different, but interconnected with each other, which is also distinct temporal density. In each territory we cover is different, and we agree to travel from an equally diverse in each of the levels. We dare to sing when we recognize that synchronization levels brings hope for a sustainable world, and prefer to remain silent when the oppression, violence, chaos, nonsense is our territory [xvii] , not as inert and complicit silence, but as a Silence makes us aware of our own condition.
nomadic subjects, subjects mestizos, border crossing, jumping to the refrain of a song that flows from their deepest unconscious, those boxes that hopscotch is the world including science, the arts. Subject of many voices, living with other humans, animals, machines and nature. Sometimes we will have fun, and let us jump smoothly from one side to another, sometimes, as I do on this occasion, we will ask for the passport. TOTEM was that my sleep I woke up believing I was in Lima.
Many thanks.
[i] GAONA Rodriguez-Martin (1997), Dance Floor, The Holy Office, Lima. Excerpt from the poem Culinary Arts, p. 9.
[ii] APPIAH, K. Anthony (2007), Ethics identity, Katz, Buenos Aires, pp. 309-310.
[iii] IB., Pp. 311-312.
[iv] Braidotti, Rosi (2004), Feminism, sexual difference and subjectivity nomadic , Gedisa, Barcelona, \u200b\u200bp. 69-70. Here we find the powerful metaphor of "cooking" the subject, an idea that also haunted by our minds to prepare for this day: "Cooking the subject." In this way select, mix, precooked and then give unity can be maintained in the same line of Appiah rooted cosmopolitanism.
[v] IB., P. 206.
[vi] IB., P. 216.
[vii] Braidotti, Rosi (2009), Transpositions. On nomadic ethics , Gedisa, Barcelona. She says in her Afterword: "This book marks an important stop on my long journey through the paths of subjectivity nomad began when, in late 1970, heard in Paris, baffled and amazed "to Deleuze, Foucault and Irigaray. So what now clearly perceived think more opaquely, ie non-unitary subjectivity, complexity and multiplicity were to be the key terms of the next millennium, as would the fear, terror, panic and political ethics and the hesitant technological and cultural advances. Instead of falling into habits of thought sedimented institutionalized by the philosophical traditions of the past, I have proposed a leap forward into the complexities and paradoxes of our time. The project to create new concepts and practices of ethical subjectivity in the aftermath of postmodernism, amid the return of the guiding narrative of genetic determinism and neo-liberalism, is a challenge that humanity projected to somewhere between a future that no one can guarantee and a fast pace of progress that in turn calls for a possible future ", IB., p. 357-358.
[viii] IB., P. 377.
[ix] Braidotti (2004), p. 66.
[x] Deleuze, Gilles and Guattari, Felix (2002), thousand plateaus. Capitalism and Schizophrenia . Pre-Texts, Valencia. 5th ed., P. 318.
[xi] SEM, Amartya (2007), Identity and Violence. The illusion of destiny, Katz, Buenos Aires-Madrid, pp. 43-44.
[xii] As Caetano Veloso: "Language is my country / And I have no homeland, has Matra And I phratry" in su Language theme.
[xiii] Psalm 136, 1-6. Psalm, however does not end there, though for the liturgical rites used only these verses, "continues in a shattering:
"Lord, do not forget what they said
Edomites the day he fell Jerusalem
'Arrásenla, arrásenla to the ground'
Babylon, city criminal
happy to pay you the evil we have done, happy
you hold your children
and crash against the rock "Psalm 136, 7-9.
[xiv] Letter to Paul Ludwig Wittgenstein Engelmman of 09/04/1917. In Wittgenstein, Engelmann (2009), Pre-Textos, Valencia, p. 39.
[xv] This concludes Borges: "He walked toward the sheets of fire. They did not bite his flesh, they caressed him and flooded him without heat or combustion. With relief, with humiliation, with terror, he understood that he too was an illusion, that someone else was dreaming him. "
[xvi] I assume knowledge of the plot of these films, especially Inception.
[xvii] could find an additional pathway, such as singing a song in a strange land stranger in our own language. I think the action of Latino migrants in the U.S. to sing the American national anthem in Castilian. On this BUTLER, Judith, and SPIVAK, Gayatri Chakravorty (2009), Who sings the nation-state? Language political affiliation, Paidos, Buenos Aires.
