Amorales Int Spread

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NEVER SAY IN

PRIVATE WHATYOU (WONT)SAY IN PUBLIC

Close to the end of post-production, on January 2014,

Carlos Amorales suggested me to compile the processof the lm The Man Who Did All Things Forbiddenin the form of a book.

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CONTENTS

4 DIRECTORS NOTESFOR PRE-PRODUCTION

16 EXCELSIOR

24 IDEOLOGICAL CUBISM

26 EMAIL CORRESPONDENCEBETWEEN DIRECTORCARLOS AMORALESAND ACTOR PHILIPPEEUSTACHON

50 FIRST ARGUMENT

65 DIALOGUES

120 SCRIPT DIAGRAMSDURING THE SHOOT

132 DIRECTING DIAGRAMSDURING THE SHOOT

Editors:Isaac Muoz Olvera andCarlos Amorales

Translation:Gabriela Jauregui and Alan Page

Design:Ivn Martnez and Laura Pappa

Texts, dialogs and diagrams:Carlos Amorales, Elsa-LouiseManceaux, Isaac Muoz Olvera,

Manuela Garca, PhilippeEustachon, Millaray Lobos,Jacinta Langlois, CamiloCarmona, Antonia Rossi, DaroSchvarzstein, Claudio Vargas,Peter Rosenthal, Francisca Gazitua,dancers 1 and 2.

Thanks to Edgar Hernndez for hiskind advice and all authors of citedimages and texts.

Cover: Remake on Wolf Vostellproposal for Documenta by CarlosAmorales, 2014Page 50: Image taken from JuanLuis Martinez La Poesia Chilena,Ediciones Archivo 1978

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#1DIRECTORSNOTES FORPRE-PRODUCTION

Between July and September 2013, a group of artistsgathered at Carlos Amorales studio in Mexico City, to

freely discuss his concerns for the new lm. We used to sitaround a square table. He drew diagrams while he spoke.Here is a selection.



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#2EXCELSIOR

On July 29th, August 5th, 13th, 19th, 27th,and September 9th and 18th 2013, several articles relatedto the discussions at Carlos Amorales studio appearedin Mexicos Excelsior newspaper. Nobody in the

journalistic milieu, neither artistic nor popular, knewwhere the articles came from. They were the pretext Carlos

used for a lecture he gave at Ch.ACO art fair in Chile,in September of that same year.



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#3IDEOLOGICALCUBISM

IDEOLOGICAL CUBISM IS STRICTLY

A MENTAL CONSTRUCTION. ITESTABLISHES THAT FUTURE ARTCANNOT BE MANUFACTURED IT MUSTONLY BE A PRODUCT OF THE MIND,MADE OF WORDS.

IN THE POLITICS OF THE UMPTEENTHWORLD, AGENTS ARE INDISTINCTLYINTERCHANGEABLE FROM ONE PARTYTO THE OTHER, WHICH DEMONSTRATESTHE VALIDITY OF IDEOLOGICALCUBISM. THINGS DO NOT HAVE APOSSIBLE INTRINSIC VALUE AND THEIRPOETIC EQUIVALENCE FLOURISHESONLY IN AN INTERNAL SECTOR,MORE EXCITING AND DEFINITIVETHAN A DISMANTLED REALITY.THEMATERIAL CONDITIONS OF THINGSARE NOT DETERMINED BY A POLITICALPOSITION, BUT RATHER, THEY REFLECTALL EXISTING POSITIONS. HISTORICALMATERIALISM IS ONLY ONE SIDEOF THE POLYHEDRON. DISCURSIVECLASSIFICATION FROM THE RIGHT, THECENTER OR THE LEFT DOES NOT WORK.AND THEREFORE:

GOOD AND EVIL ARE CONDITIONS OFVITAL INTENSITY; NEVER DOGMATICMORALS.

HUMANS ARE NOT A LEVEL ANDSYSTEMATIC CLOCKWORK MECHANISM.

SINCERE EMOTION IS A FORM OFSUPREME ARBITRARINESS ANDSPECIFIC DISORDER.

DUALITY IS AN ANALYTICALRESOURCE, BUT NOT ONE THAT HASBUILT THE WORLD.

HUMANITY HAS ALWAYS SPOKEN OFMULTIPLICITY WITHOUT UNITY, ALBEITIN AN ENCRYPTED MANNER.

IDEAS OFTEN DERAIL THEYARE NEVER CONTINUOUS NORSUCCESSIVE BUT SIMULTANEOUSAND INTERMITTENT. THE ONLYPOSSIBLE FRONTIERS BETWEEN

ART AND SOCIETY ARE THE SAMEINSURMOUNTABLE BOUNDARIES OFOUR OWN MARGINALIST EMOTIONS.AS THE STATE HAS DEMONSTRATED ITSINSUFFICIENCY, AND DEMOCRACY HASSHOWN ITS EMPTINESS, INDIVIDUALSHAVE A RIGHT TO SELF-LEGISLATE:INDIVIDUALS NEED THEIR OWNLAWS TO BE FREE. WE ARE FAR FROMTHE SPIRIT OF THE BEAST. WE AREFREE FROM ITS HEAVINESS; WE HAVESHAKEN ITS PREJUDICES. NOW OURLAUGHTER IS THE GREAT LAUGHTER.



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#4EMAILCORRESPONDENCEBETWEEN DIRECTORCARLOS AMORALESAND ACTOR PHILIPPE

EUSTACHON This was the second time Carlos worked withactor Philippe Eustachon. Philippe was in Paris, incommunication via email, while Carlos conductedhis research in Santiago.

Youll see a sea of stones,Upon the instant, the familiar dust-up gravitatesAnd grips the pavilion of ancient clans;Youll see daisies in the seaLadies and gentlemenThe poets came down from Olympus.Youll see a God of hungerALSO FOUND, A GUNYoull see the hungerUZI SUBMACHINE GUNS WITH 35 CARTRIDGES OFAMMUNITION,

Youll see figures like flowersA SAWED-OFF SHOTGUN CALIBER,Youll see an ocean in the desertA .38 COLT REVOLVERYoull see the ocean in the desertA 7.56 BROWNING PISTOL,Youll see your earA 9 MILIMITER BROWNING PISTOL,This is our last word.Our first and last wordA STAR 7.65 PISTOL,

SUBJECT: ILL TRY TO ANSWER

On Sept 28, 2013, at 11:21:30 AM, fromSantiago, Carlos Amorales wrote:

Hello Philippe,

I WILL ANSWER YOUR PROPOSALS IN CAPS

Im not fully clear whether what youre sending me(the poetry) is yours or by poets youre studying

THE POETRY WEVE SENT YOU IS MADE UPOF FRAGMENTS FROM POEMS OF DIFFERENTCHILEAN POETS. THEY ARE DIFFERENT POLITICALPOSITIONS THAT ARE MUTUALLY CONFLICTIVE.THEY ARE WHAT WE CALL IDEOLOGICAL CUBISM,A TERM I CREATED FOR THIS PROJECT. ITS AN



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INVENTION BORN OF OBSERVING THE POLITICALCONTRADICTIONS THAT APPEAR IN THE CHILEANPOETRY MILLIEU AND SOCIETY. STARTING FROMTHIS TERM WE COULD INVENT AN AESTHETIC,THIS IS WHAT INTERESTS ME, AND BEING IN CHILERIGHT NOW IS ABOUT FINDING OUT HOW THISMAY BE, HOW IT MANIFEST ITSELF.

It makes me anxious, this situation of not knowing withno news...

YOU HAVE TO BEAR WITH US, WE HAVE 4 OR 5MEETINGS A DAY, AND WERE PROCESSING ALLTHE INFORMATION. ITS NOT EASY, AND IT CANTBE THAT FAST.

Do you know anything about a script?

THE SCRIPT, EVEN THOUGH IT MAY NOT SEEMLIKE IT, ARE THE POEMS, THE CORRESPONDENCE,THE INFORMATION I SENT YOU BEFORE LEAVINGMEXICO.

YOU HAVE TO START WORKING WITH WHAT WEREGIVING YOU, DONT CARRY OUT A PARALLELINVESTIGATION AT LEAST ON THESE TERMS.

MAYBE THINK ABOUT WHAT COULD BE THEIDEOLOGICAL CUBISM IN ACTING, IN WHATYOULL WORK ON WITH THE ACTORS, IN A PLACEBY THE SEA.

I have started to think about the literary workshop 1andabout what each one of us can do but I dont know howmany people will take part

3 ACTORS AND YOU. 4 TOTAL, PLUS THE FILMCREW.

We need corridors and basements.

1 There was a plan to hold a literary workshop in Chile, with the actors, as a platformto work on the script and the research. However, the plan resulted in two weeks ofrehearsals in Santiago, based on improvisations.

THERE IS OUTSIDE: THE SEA, THE HILLS AND THEWOODS.

Rats and caviarBad poetry and ideas

THERE IS BAD POETRY EVERYWHERE, BUT THEREIS SOMETHING THAT IS NOT BAD CALLED THENEW NOVEL BY JUAN LUIS MARTNEZ THAT YOUSHOULD READ.THIS IS THE CLOSEST THING THERE IS TO THE

SCRIPT WED LIKE TO END UP WRITING, SO TAKEA LOOK AT IT, READ IT, AND THINK ABOUT THISBOOK, ITS VERY IMPORTANT. LET YOURSELF GETCARRIED AWAY BY THIS BOOK AND WHAT WESENT YOU, DONT LOOK FOR MORE INFO, BECAUSEYOURE GOING TO GET LOST.

Who wrote this poem (the last one) that you sent me?

A GREAT POET WHOSE NAME I CANT REMEMBER

cheers

KISSES, C

Subject: Diego Maquieira2

On Sept 28, 2013, at 12:31:02 AM, fromSantiago, Carlos Amorales wrote:

Hello Philippe

Today we met Maquieira, an absolute madman, a dandy.Wow!

I dont know if youll be able to easily find a copy of hispoetry, but if you do, it would help you understand thedimension of this character. I wanted to tell you hes wellworth looking into, because he lives in absolute freedom

2 During September 2013, the team traveled to Chile to get to know the literary andartistic scene of the country through video interviews.



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with his madness, and when I say madness I mean it literally:it was a fantastic interview, as soon as I realized that therewas no need to ask him about what were looking for in ourresearch, but rather to just enjoy his personality, it turnedinto a marvelous experience.

I relaxed, I sat back in my armchair and could not stopmarveling at him, and falling to pieces with laughter.Maquieira is absolutely beyond any coup dtat, politicalquandaries, or anything of the sort. At no point did he makeany mention of his thoughts on the matter, as if it had never

existed in his universe, as he is in fact in another universe,that of his poetry.

I leave you some of his phrases, which I wrote down duringthe conversation:

The poet is not a writer. I am closer to the composer andfilm director (because of the editing process). The book (hespeaks ofAnnapurna) is a poemboard, not a storyboard. Isee poetry as a journey, not a race. I publish once every 20years. Im an autodidact, an amateur, an artisan. Im closerto Blake. Braulio Arenas is a little small for me. An aircraftcarrier with nothing for me. Like Isla Magdalena, an islandon a bi-oceanic sea. I took 20 years to make that book. 10years of alcoholism, 5 years of rehab, and 5 years to finishthe book. Mobile oceanic telescope. Central nucleus of allsides at once and reference to Neruda with his wind roses.A book director, I make the connection from one page tothe next, but not a collage. In the book there is a grave cre-ated by Maquieira for Cesar Vallejo and other authors---->(he reminds us of Juan Luis Martinezs box). The sameimage is used to make new chapters (the image of thestone). I have no interest in being enigmatic; I give signals.The presence of others exists in the photograph. A liturgi-cal gesture in the chapter beginning of uncertainties.Amodel of poetic composition / Stravinskys principle ofsimilarity (similarity behind multiplicities). I have neithercar, nor Internet, nor cell phone, nor computer. Thereare things that are sequences and no connection. Silentpoetry or silent cinema? In the book there is a dedicationto photographers. There is also a Gabriela Mistral quote,If I wore this hat, the Andes would collapse. Poetry isdrowning because its getting confused with/ drowning in

literature. Nothing or almost an art, to quote Mallarm.Cultural consumption. The infinite is identified with awomans breast. I dont like Andy Ws Factory thing, poetryis solitary work. Indefinite amount of reading time. Imagesthat are read with words that are seen. The great imageis not looked at, just as the great sound is not heard. JuanLuis Martnez is a Mallarm devotee. Claudio Bertoni alsohas visual things. They need to get off the page, get outof the book. I believe in the book because its the anti-t.v.Im a small poet in a small country of great poets. Sterilityis a subject that worries Mallarm and JLM enormously.

The ashes in the little box could be the ashes of sperm. LaTirana (The Tyrant, one of his poems and also a legendfrom northern Chile) is like a play for the theater. Not aguru nor a kangaroo, but a bamboo. Chinese poetry: tosee with ones fingers all that the light hides. Tout finittoujours trs mal, as the French say3. Imagination, instinctand sensibility. (about his new book) I cant change thebeginning or the end. (also regarding his new book) Itcan also be seen as the Latin-American version of Voguemagazine. (about his alcoholism, he said) I wanted to diebut I didnt want to kill myself. Lao-Tses aphorisms arebetter than any other faith. For example, Where there isnot enough faith, there is no faith. Those who want to gosee the psychiatrist have to go see the dentist first. Poetryhas the function of making people see. The ball I threwin the playground has not yet reached the ground. I loveGods incredible silence, I love the blank page.

Subject: Regarding Carlos Wieder /Tentativa Artaud

On Sept 30th, at 12:32:06 AM, from Santiago,Carlos Amorales wrote:

Hello Philippe,

It is important that you understand the following and webegin to discuss:

3 Translators Note: Everything always ends badly.



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Sergio Parra told me that the real Carlos Wieder is RonaldKay. Besides, yesterday I interviewed a curator specialized inthe Chilean avant-garde scene, Isabel Garca Prez de Arce,who confirmed that Ronald Kay is Wieder, as she was a victimof his (abused, terrorized, attacked), during a year and a half,when Kay returned to Chile some five years ago. In her words,Kay is pure evil. In Bolaos words, Wieder is pure evil.Something that goes beyond the Right or the Left. Speakingabout the victimization of the left during an interview weconducted with him, Kay defines himself as a disgrace.

The comparison between Kay and Wieder has been absolute,but informal, secret, off documentary register. I asked Parraif Bolao had met Kay. He told me that he had refused tomeet him in person, but that he was absolutely conscious ofKays role in the artistic vanguard during Pinochetism, andthat Kay is indeed Wieder.

There is a performance by Ronald Kay called TentativaArtaud (Artaud Attempt), which was presented at theDepartment of Humanist Studies at the School of Physical andMathematical sciences at the University of Chile, in October of1974. It was the first performance presented in Chile, whereKay wrapped a group of four people in transparent plasticwrap in the institutions attic. He arranged them on the floorso that they would listen to a text by Artaud on headphonesand recite it: ratararatararataraataratatararana Amongthose present was the poet Ral Zurita. This performance isthe origin, the seed, of the group that formed the Colectivo deAcciones de Arte (CADA), which, a few years later, woulddefine themselves as the creators of a new social art, opposedto the Pinochetist right, but also to the communist imaginary.

The images contained in the book that documents TentativaArtaudcontain a strange recollection of what might seemlike a torture session. Its chilling to think this happenedjust one year after the military coup, just when the hunting,arresting, torturing, disappearing or murder of the enemiesof the dictatorship started to grow more intense. Tounderstand the relationship between performance and realityis something that is open to interpretation Eventually thebuilding went from being the Department for Humaniststudies, a sacred place according to Kay, to a DINA center,then the CNI (the National Center for Intelligence), and

is presently the Museo de la Solidaridad (Museum ofSolidarity) and the Fundacin Salvador Allende (SalvadorAllende Foundation).

Today, I also asked Parra if he considered Kay to bea dangerous person, particularly if it is dangerous toget involved with Kay on our project and he offered aresounding yes: Kay is a manipulator, a miserable bastardwho can destroy people. Kay threatened Isabel Garca:Im

going to drop a cellophane bomb with a red bow on you.A bomb that, she went on to tell, he eventually did drop.

Cellophane bombmakes me think of the people wrappedin cellophane in Tentativa Artaud. In the image I includehere, besides Zurita lying down, are Juan Balbontn, EugenioGarca, and significantly, Catalina Parra, the daughter ofNicanor Parra, Kays wife at the time. When Isabel Garcatold Catalina Parra about her problems with Kay, Parra toldher that, after her divorce, she had gotten a court order thatforbade Kay from coming near her home.

Isabel Garca heard about our project, about our search forthe truth behind Wieder, and she decided to approach us tohelp us with our research. In her words, as she lives in Chileand has a young son, she says she cannot fully express thehorror she lived with Kay, she cannot speak about it publicly,nor can she write about it. She is blocked, but she wants toadvise us so that, through us, she can speak about all sheknows and all she lived through. Garca is specialized in

Chiles new social art of the seventies. She is the archivistwith the most authority on the subject, and she has offeredus access to what she defines as material containing a highdegree of psychological violence. We have at our disposal thehouse by the sea and three actors with whom to work.

There is much to understand about Kay. Elsa kept notes onour conversation which he refused to allow us to record, andweve bought his books to read them:El Espacio de Ac(TheSpace Here) and Tentativa Artaud. Should we read them,Kay is willing to meet with us again to participate in ourdocumentary. Im not sure if we should see him again because,as Ive said, the man is dangerous. I heard that he is the son ofa German SS officer, but I havent been able to confirm it.

Ok, on we go, kisses, Carlos



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On Sept 30, 2013, at 6:11:06 PM, from Paris,Philippe Eustachon wrote:

Be careful of jumping too fast to conclusions andreductionsButchers son = butcherWhores daughter = whoreSon of a Nazi = NaziNot all Germans are fascinated by Nazism, torture andbloodI can see the complexity and I like itThe man is a little more

I havent lived through the dictatorship, nor through fascism,nor Nazism, nor communism My violence (which can bemy strength), which I try to transform, comes from a worldwhere war is everywhere outside Each and every one ofus does whatever he can to justify his actions, good or bad.

There is poetry everywhereI dont see the world in black and whitenor good nor evilnor good guys nor bad guysleast of all men and women

I attemptexperimentquestion

its hard to find the enemywhen war is everywhere

The supreme art of war is to subdue the enemy withoutfighting him

Hugs,P

On Oct 1, 2013, at 1:28:42 AM, from Santiago,Carlos Amorales wrote:

Hello Philippe,

agreed, youre right about not categorizing people by meansof snap judgments from a distance, but the research weredoing is serious and is not only based on reading aboutthings, but also on getting to know the different peopleinvolved in Chiles cultural world, as well as their opinionsabout historical facts, places, and reading the books theywrote and revising their documents.

We met two people in this context who were key inunderstanding Chilean history, who gave us the informationon the Wieder/Kay relationship:

Sergio Parra, a poet from 80s generation, owner of theMetales Pesados bookstore, who is the center of Chilesliterary and artistic world. It was he who originally broughtthe Wieder/Kay relationship to our attention.

Isabel Garca Prez de Arce, who is the authority on thehistorical archive of the period, and who is therefore thecenter where all this information flows.

After speaking with them, the conclusion we have reachedis this: Bolao based his character on a real person and thatperson exists. The story behind the characters ofDistantStar (Estrella Distante)hides a series of situations thathappened in Chile in the seventies, during Pinochets regime.InDistant Stara real story is simplified and metaphorized.Now, Ronald Kay is who he is and that is his problem, not



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ours. Ronald Kay is the distant star (he left Chile for severalyears, the ones he was married to Pina Bausch, and recentlyreturned to reclaim his place in art history).

InDistant StarWieder has two exhibitions:

The performance where he skywrites phrases from a planein the skies of Santiago. This alludes directly to Ral Zuritas

La Nueva Vida (The New Life).

The exhibition shows photos he took of his victims. This

might allude to the work of Eugenio Dittborn.Both Zurita and Dittborn were profoundly influenced byKay. They were his collaborators in seminal moments of theart of the time: in the magazineManuscritos (Manuscripts),and in the magazine VISUAL. Kays most important text is

El Espacio de Ac, which is a text about Dittborns uses ofphotography. Manuscritos is not a respite in the dictatorship,as it has been portrayed to be, it is part of the culture of thedictatorship. The Chilean artistic vanguard that arose duringthe second part of the dictatorship was produced by upperclass youth, socially protected, who felt the need to produceart, so maybe for them it was a respite One mustntconfuse this vanguard within Pinochets state with the leftistart produced by exiled Chileans: this is situated elsewhere,its aesthetic and discourse is another, related, for example,with the world of Miguel Littin, the filmmaker, and theMuseum of solidarity, which we visited today.

Careful: Ronald Kay is a true artist of the avant-garde, andthose are entirely his interests. Kay is not necessarily amember of the Right, but he is an anti-communist, and saidas much. He described his attempt to bring an exhibition ofWolf Vostells work to Chile, which the exiled communiststried to avoid because portrayed the dictatorship as open.The influence of Vostell and Fluxus is evident in Kay. Itsinteresting to note that one of Vostells works, proposed forDocumenta at the time, consists of a plane flying over theFridericianum Museum in Kassel. We might conclude thatthis is the seed that would eventually lead to Zuritas plane,to CADAs and eventually to Bolaos.

Another important thing to understand is this:

the information that is generally found outside of Chile abouttheEscena de Avanzada, CADA, and all that new social andpolitical art of the time is the historical version written bya French sociologist and art critic called Nelly Richard. Buttheres another version of that history, Ronald Kays, whichopposes and now competes with it. Kays battle (which is notjust an argument, because it goes beyond discourse, to facts)has to do with the authority of his version versus Richards.This battle, or struggle if you prefer to call it that, is real,despite being an essentially intellectual struggle: for example,everyone who participated in the events of the time are at

odds with each other (we realized this during the interviews)even though from outside it looks like everything is in order,without fissures.

More than a step by step discussion of the differencesbetween both historical versions, with their details, aboutwhich version is better or worse than the other, what I findvery interesting is that its about a war for control overthe writing of history. It is therefore a struggle to imposepersonal authority over the words and texts that others willread: over remains written definitively, and over who signshis name to it. In this sense, I would like to remind you thatOUR FILM IS ABOUT WORDS: ABOUT THEIR POETICUSE AND THEIR POLITICAL USE, AND ABOUT HOWTHEY RELATE TO THE BODY AND THE LANDSCAPE.It is not a film about Kays history, even if for the momentit seems to be at its center. To judge Kay as to whether he

is a Nazi or not, is in the end irrelevant. I think that whatis starting to be discussed here is not so much about thepositioning between the left and the right, or about life intotalitarian regimes. I think the discussion weve entered intois about avant-gardist thought, and in that sense Wieder/Kayis a very interesting and concrete example.

In other news, today we went out with a group of actorsand filmed an improvisation session. It was a very goodexercise and there are several necessary questions we allmust ask. We are also assembling a very good film and soundcrew. Tomorrow we set out for Concepcin to see the cubichouse by the sea. Here in Santiago, weve interviewed andfilmed so many people that were starting to enter into astate of mental exhaustion, since were handling so muchinformation at once.



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Philippe, Id like for us to start thinking about your trip toChile in practical terms, and about what youll have to dowhen youre here. Also about the sense of what were doing,and about how to proceed with the information weve comeacross, how to transmit it and how to digest it to use at thelevel of the actors, the situation, and the people.

Hugs, C



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Subject: Actors / Casa Poli

On Oct 2, 2013, at 08:31:15 AM, from Penn-sula de Coliumo, Carlos Amorales wrote:

Hello Philippe,

Were at Casa Poli, a house by the sea shaped like a cube. Itsa fantastic place. Looking over the space and the light with

Daro, it has lots of great possibilities for filming.Besides, the landscape is frankly impressive. Im very happywith this place, its very special, and being here is helping mebetter understand what I want.The research of the last few months, last weeks interviews,the improvisations with the actors we met yesterday, thisplace where we are, the subjects we are dealing with anddiscovering, all of this, little by little, is shaping a clearer ideaof the film

The actresses and actor with whom weve already agreed towork are Millaray, Jacinta and Camilo. Theyre available forpractically all the days weve proposed. Yesterday we beganto work with an initial text about language simplified inextreme landscapes:

Varlam Shalamov [] wroteKolyma Tales. Naturesimplifies itself as it heads toward the poles. Naturesimplifies itself, and so does human discourse:

My language was the crude language of themines and it was as impoverished as the emo-tions that lived near the bones. Get up, go towork, rest, citizen, chief, may I speak, shovel,trench, yes sir, drill, pick, its cold outside, rain,cold soup, hot soup, bread, ration, leave me thebuttthese few words were all I had neededfor years.4

By playing with the words in the text, we came up witha spoken exercise that little by little resulted in physical

4 Martin Amis: Koba the Dread: Laughter and the Twenty Million (Vintage International,2003p.155)

interaction. From my point of view as a director, somethinginteresting started to happen here, because one of the actorswalked out onto the balcony and the group became dividedbetween the one outside and the others who remained inside.This division created a kind of cruel game, because the oneoutside was left out in the cold, isolated from the othersconversation. This allowed me to enter into the dynamicand to start to propose things like changes in text to thosewho remained indoors, leaving the one outdoors out of thecontent of the text on top of everything. When the othersentered into the dynamic of the second text, I let the actor

come in and sit down with the others. At that moment,something interesting happened, because one of the actressesquestioned his motives for being inside and he answeredthat he was cold. Then a conversation arose where shequestioned him cruelly as to whether he thought being coldwas reason enough to want to come in, which then turnedinto a perverse game.

Based on what weve thought of here, there were three levelsof interaction with the actors:

1) Millaray created the general situation and was the leaderof the group.2) Camilo divided the situation, creating the quandary.3) Jacinta worked on the detail of that problem.

MILLARAY LOBOS GARCA



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From what we observed, she has a great degree of finessein her work. She plays subtly, seemingly fragile, but sheimmediately began to lead the group in a very direct way,even though she can also do it indirectly. She is constantlyconstructing, she looks for a narrative, tensions, relations,etc. Millaray works on the details. She suddenly joins thegroup crying imperceptibly, she changes and takes control.We think her way of acting is an interesting of approachingsituations that can be almost banal, simple, minimal or tense.We feel a very wide range of emotions in her. Besides, theressomething asymmetrical about her face, something strange,

as if from another time, that is different from ordinarybeauty. She reminds us of a bird or one of HieronymusBoschs characters.

CAMILO CARMONA

At first, he seemed to be the least interesting of all. He hasa strange physiognomy and doesnt seem to have a big ego.However, he immediately distinguished himself from therest. Later, when we discussed him, we realized that despitenot being someone who is immediately striking, someonewho can almost slip by unnoticed, he really takes on avery important role in the dynamic, he creates situations,moments that can end up in scenes.

JACINTA LANGLOIS

She has a kinder, more innocent side, but she also hasher ugly side, although it feels as if she knows how toconsciously play with these aspects of her personality. Shegesticulates, and there is a strength and a bizarreness abouther body language. She reacts naturally to a situation even ifit is absurd, and she proposes new things energetically. Shesat ease. Jacinta is younger than Camilo and Millaray, lessexperienced, but we feel like she has the necessary bases tointroduce a more intense kind of play. Being the youngest,she projects herself as being the most vulnerable and webelieve that this can add an interesting turn to the games ofpower that will occur among everybody. Another interestingthing about Jacinta, even if its banal, is that she is thedaughter of an artist from the generation were investigating,which gives her a great deal of affinity with language wewant to work with.

Ill write more later.

Hugs, Carlos



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On Oct 2, 2013, at 11:06:18 AM, from Paris,Philippe Eustachon wrote:

Hi Carlos,

Its hard to say anything about the photographs

I think we have to transform ourselves somewhat and see

which way we go from thereDoes that mean I should hold a literary workshop withMillaray, Camilo and Jacinta?

What do you think of the work plan?

I think we need men.

From his photo, Camilo looks young

The cubic house seems incredible but can we transform it?

The first image that came to my mind when I saw it at firstwas something like this

without so many people

it could be shown only at the end

If not, all the actors and actresses look like good victimseven if only intermittently

Hugs, P

On Oct 2, 2013, at 6:48:27 PM, from Pennsulade Coliumo, Carlos Amorales wrote:

Hello Philippe

*Yes, its hard to comment on the photos, but weve filmedthem in action so you can take a look at some of thefragments.

**Casa Poli. The effect of the house and of the landscape isimpressive. Today is the second day weve been here andthere is a transformation occurring in us. Better mood,less tension and exhaustion, less confusion and mentalsaturation. It has a beneficial, healing effect that cleanses thebody and mind with the power of the wind, of the ruggednessof the landscape, of the sea and rocks, of the house on themountain, of the windows that harmoniously connect theoutside with the inside, the sound of the wind against ourears when we walk along the cliff and the suspended quietwhen were in the house. This house is very interestingon the inside because it has hundreds of angles, crossesand horizontal and vertical lines, as if it were a rationalist

Merzbau. In filmic terms, it is the possibility of a labyrinth,a confusion that is juxtaposed to the monumental unity ofthe building seen from outside, that orders the labyrinth. Onthe inside, the house has no need of images because it hasthese windows that open out onto the landscape, and thelandscape is the strongest image of all, the house is in thelandscape, the house is an image.5

***

5 At rst, the idea was to shoot at Casa Poli and in the surrounding landscape, but the

direction taken by the script led us to only lm in the landscape.



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There is a little book we found in the house that shows thethought process of the architects, the plans and most of alltheir sources of inspiration that structure the rationalism ofthe house. They are images of historical paintings, works ofart, places and diagrams. It includes the following imagesin the following order: One Million Yearsby On Kawara.Notes on numerals by the architect that build Casa Poli.Adiagram of the soapy structure of foam. A photograph of abanquet by Daniel Spoerri. A photograph of the niches atthe Liqun cemetery. A photo of old light meters in BuenosAires. An image from a video of a drawing exercise by Denis

Oppenheim. Two photographs ofInvisibleby GiovanniAnselmo. A photograph of a brick oven in Nongunn,Concepcin. A photograph of a cloth factory in Tome.Photographs of the stables at Estancia Santa Elena Lujn,Buenos Aires. Storehouses in Concepcins main square. Aguard post on Santa Mara Island. A blueprint of the firstdesign plan of Casa Poli. A twelve piece spatial cross by MaxBill. Heterodox architecture, Eduardo Chillida. Compositionno. 3 with colored planes by Piet Mondriaan. Snowstormby William Turner. Architectural images of the plans forCasa Poli. Three studies of Lucien Freud by Francis Bacon.The Return of Ulysses by Giorgio de Chirico. Diagram ofan exterior staircase of Casa Poli. Relativity by M.C. Escher.Reflections on the windows of Casa Poli. Nude descendingthe stairs by Marcel Duchamp. Ema, nude on a staircaseby Gerhard Richter.Imaginary vision by J. Batista Piranesi.Merzbau by Kurt Schwitters. Homage to the square byJoseph Albers.Black square by Kasimir Malevich. Bild82 byOtto Hajek. Jump into the void by Yves Klein. Dynamo Clubby Alexander Rodchenko. Parking lot by Laszlo Moholy-Nagy. References, references, references, references, andmore references. However, all of these images of works of artare good clues to understand the space well be filming. Forexample, Turners painting clearly alludes to the whirlpoolsthat are formed in the sea, the impact of the water on therocks, the chronic erosion, the violence of nature, the vertigoone feels when the one approaches the precipice.

****

And this place most definitely becomes a space that helpsone rest ones mind, especially after all weve researched andspoken about in the last 10 days in Santiago: the paranoid

stories, the avant-garde demons, the different spheres ofpolitical thought stratified in cascades of words, poems likecellophane bombs, jumps into the void. This is a concretecube before the void, and, empty, I feel, or maybe I intuit,my desire to erase everything Ive learned up to this pointon this trip to Chile that began six months ago when I wasinvited to come. And Id like to propose the following toyou: forget everything, erase everything, unsay everything,become uninformed of everything, bury everything, disappeareverything and concentrate intensely on just one image thatis in just one place: this house on a cliff, where there will be

four or five people, with their words, their gestures, theiractions, in empty situations, with no sense. For me, the timehas come to forget all the expectations generated by ourpassage through Chile, to momentarily free myself of thesense of the tsunami of words we let loose over the last fewmonths, since we began our research.

So today I declare the end of the film about poetry andpolitics in Chile: tomorrow a new film will begin which willbe made here in Chile next November, of which nobodyknows anything, from which nobody expects anything, nowand maybe never. I ask of you to forget everything youveread and written, for you to bury it in your memory and jumpwith me into the void.

The first proposal for this work is to forget what has beenproposed up until this point.

Hugs, Carlos



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Subject: Treatment (with sequences)

On Oct 13, 2013, at 3:54:52 PM, from Paris,Philippe Eustachon wrote:

Hello Carlos,

How are you doing?It would be good if we could talk for a bit one of these

daysI feel like there are a million things we need to look over andtalk about, so that we can make decisionsThe film is very, very ambitious, because of the subjectmatter and the demands of the projectWe must be careful not to lose what little time we haveThe other day, when we talked over Skype, you looked tired,and that worries me

Is everything ok?

Hugs, P

On Oct 14, 2013, at 12:59:04 AM, from MexicoCity, Carlos Amorales wrote:

Hello Philippe,

Yes, everything is fine. Lots of work!

The other day I looked so tired because I had just returnedthe day before after three weeks of research, without a singleday of rest. The experience has meant receiving an avalancheof information that weve had to digest very quickly in orderto move forward, but we went to Chile very well prepared,and that means we are making good sense of things. Dontworry, were doing fine.

Since last Friday, weve been planning the practical detailsof the shoot, day by day, which is making everything muchclearer. Besides, were writing a treatment of the script

with Elsa. Were basically dividing the story and the shootin two complementary parts: Day and Night. For now,were primarily developing the Night part, which is the onewill be filming in Santiago and on which you will have toconcentrate primarily, because its the one in which youdirect the actors. The second part will be filmed in a moreclassical manner, and were working on it.

Lets talk soon about whats next.

***



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#5FIRST ARGUMENT

In October 2013, after his rst research trip to Chile,Carlos was able to write a more concrete argument,

condensing all the sources so far explored.

DESCRIPTION OF THEWORK PROCESS

A) After a period of conceptual develop-ment that lasted for three months duringthe Summer of 2013, during which welaid out the work at my studio as that ofa news agency (calledBur FantasmaGhost Bureau), we finally opted toconcentrate all the shooting and researchfor the film in one country, Chile, so asnot to bifurcate the argument, originallythought of in different countries, andthus mold the historical aspects thatinterest us to that specific place. Theshoot will therefore be divided in twomoments:

An initial three-week researchtrip, organized around a documentaryprocess.

A second four-week trip duringwhich certain of ourperformative and po-etic conclusions will be filmed. This is tobe understood as a fictional film process.

B) At a later moment, PhilippeEustachonwill do a series of performances con-ceived expressly to be shot in Chile. Hisacting in the film will be based on thisseries of performances. Philippe will go

to Chile a couple of weeks before the sec-ond shoot in order to establish contactswith theater people actorswith whomhe will form a device in the guise of a lit-erary workshop. In this workshop, whichwill in fact be an acting platform, actorswill be invited to write and discuss po-etry. Regarding this point, it is necessaryto understand that it is a platform/deviceto develop the films action/acting. It willbe a literary workshop in the sense of theconstruction of the film.

STRUCTURE FOR THEFILMS DEVELOPMENT

1. Research Chiles history and create aplot that is between fiction and documen-tary, including:

a) Historical notes where truth is mixedwith fact, published clandestinely in aMexican newspaper with national distri-bution.b) A fictional screenplay that imaginesthe state of the character in the contextof Chile.c) Graphic tools like, for example,a double sided card game.d) Guide maps inspired by the booksClandestine in Chile: The Adventures of

Miguel Littn (La Aventura de MiguelLittn clandestino en Chile)by GabrielGarca Marquez, andDistant Star (Es-trella Distante)by Roberto Bolao andon a selection of detention and torturecenters run by the DINA secret serviceduring Pinochets dictatorship.f) An encyclopedia containing all theinformation we have access to, includingprofiles of Chilean poets and examples oftheir works.

2. First trip to Chile (September).

Thanks to our co-producer Irene Abuja-tum we did a scouting trip to visit placesand get to know people. We tried to pen-etrate Chiles reality to better understandthe dimension of the facts.

Commitments achieved in Chile:

a) Documentation of a Carlos Amoralestalk at Ch.ACO art fair.b) Interview with Carlos Amorales, broad-casted in Chilean public radio and web.c) Meetings with intellectuals, artists andpoets.d) Other things we liked to shoot.e) A casting carried out to find the filmsactors.



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3. Philippe Eustachons two-week stay inChile on November 2013 (The LiteraryWorkshop).

a) Work with a group of actors and non-actors (occasional guests).b) Work within the limits (spatial, social,economic, documentary, shooting anddocumentation).c) Confront the information we gavePhilippe with reality.d) Establish the literary workshopsdynamics.

Lets notice that,

Philippes role is to be the director ofthe group.The group will consist of 4 actors.During the first two weeks, he will beginthe acting process with the group ofactors so they can engage in the project.There will be some guests such aspoets, intellectuals, a dancer, a singer,a politician.Third and fourth weeks are for filming.Place / situation: A literary workshopthat happens in an actual apartment inSantiago de Chile.People read, talk, eat, drink and dance.The film crew will register the actualprocess of these rehearsals (rehearsedrehearsals).

It is important to find the right groupof actors through a casting. It shouldbe actors, female and male, who canendure intense experiences and intensesituations.

HISTORICALDEVELOPMENT OFTHE PLOT WITHIN THECHILEAN CONTEXT

1.After a research period of approximatelythree years in which I worked on howthe sign becomes manifest between thevisual and writtenpictograms becom-

ing cryptogramsI decided to continuemy work by exploring the meaningof words as such, and how they arerevealed through meaning in the visualarts, film and poetry. To my understand-ing, this significant representation of theword in contemporary art is problematicbecause, even though I appreciate itand it interests me tremendously, it hasalways been hard to use text in my workdue to an ideological crisis, an impossi-bility to identify with the discourse of theLeftwith which I was brought-upandthat of the Right. The use of words ispolitical; the word is Politics. Politics arethe consequence of words; words are theconsequence of politics. During thesepast few months, I have been thinkingabout making a film to explore the useof textual language as it manifests itself,facing the quandary straight on, withoutbeating about the bush.

I am interested in shooting in Chiledue to the importance poetry has in itssociety and to how this artistic practicewith words and images reflects the politi-cal issue that divides Chilean society. Afew years ago, I read Roberto Bolaos

Distant Starand I was very impressedby the fictional character of the avant-garde fascist poet, Carlos Wieder,because he contradicts many of the pre-cepts I had about the avant-garde, whichI always assumed to be a Leftist one,

liberal and libertarian. This contradic-tion seemed even more interesting whenI understood that what Bolao presentsas Wieders work is actually the work ofRal Zurita, who is, after Nicanor Parra,the most important Chilean poet today.And who is therefore nevertheless alsoa member of the cultural establishment.This creates a paradox and even perhapsan irony. Starting from this point, I havediscovered that behind this paradox lieothers and still others, and what at firstglance appears to be a local Chileanproblem is in fact a Russian nesting doll,a metaphor of a universal quandary. Inthis new film, I would like to explore theproblem between Right and Left-wingradicalizations, and how words that rep-

resent both political positions physicallyreflect upon the bodies of the people whoutter them. At the end of the process I al-low myself to imagine a rather symbolicfilm, perhaps somewhat abstractanexercise in what I dare define as abstractfiction.

2.A long and strange chain of indolence,abuse and irresponsibility led a work ofmine to be donated, without its ownersconsent, to the Chilean government. Thepiece is titled Spider Galaxy, a perfor-mance for which an amphitheater is builtwith four hundred wooden cubes, which,together form a 16 x 9 x 3 meter-struc-ture. Stored in containers, this structurewas shipped off to Chile in 2011, whereits Marine Customs officials still have itin custody.

Two years later, I received a call fromMr. Roberto Ampuero, an academic

and fiction writer, who at that time, wasChiles ambassador to Mexico. He want-ed to meet in a well-known restaurant.During the luncheon, and after a sense-less and long preamble, the Ambassadorrevealed that the motive of his call wasto discuss the matter of my piece, which,in his words, had become a State affair.Ampueros first proposal was to ask forme to consent to its donation, which Irejected explaining that first off, I hadnever had any relationship with Chileand that, secondly, the piece had beensold to a collector so I could not donatewhat no longer belonged to me.

What had been agreed prior to thismeeting, thanks to the help of my Paris-ian gallerys lawyer, was that the piece be



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destroyed and that the action was to bedocumented with the intention of avoid-ing a replica. The Ambassadors argu-ment was that the destruction of a workof art in Chile signified a profoundlyproblematic act due to its recent historyand if this came to public light, it wouldprobably cause a scandal. I counteredwith the proposal that I would person-ally assist to the pieces destruction sothat my presence would justify the actionand show my consent. At the end of thispart of our conversation, I noticed thatAmpuero took his telephone, which hadbeen on the table, and pushed a button.The Ambassador had been recording ourconversation without previously lettingme know.

Days later, I received a letter inwhich the Ambassador confirmed whatwe had agreed upon. However the letterdid not mention the object under discus-sion. This made me realize the depth ofthe problem since, by not mentioningthe motive of the Ambassadors letteryet demonstrating a sophisticated useof language, he was disengaging legallyfrom the responsibility of destroying anartwork. At the end of our encounter,Ampuero gave me a copy of his latestnovel and signed it for me.

A week prior to my meeting withthe Ambassador, I was invited to a partywhere I met a young Chilean collector,

accompanied by his foundations cura-tor, and by a very kind and enthusiasticgallerist. My interest in BolaosDistantStar came up during my conversationwith the gallerist, specifically on howBolao had used Ral Zuritas work as ifit were the poetic creation of his infa-mous fictional character, the fascist poetCarlos Wieder. Poetry is the best thingour countrys culture has, the galleristsaid, and she invited me to visit Chilewith the promise of introducing me to aseries of important poets if I agreed togive a talk on my work during the con-text of an art fair she organizes.

After my encounter with the Ambas-sador and the Chilean gallerist I keptthinking on how a country so proud of

its poets had to carry the weight on itsconscience of having burned books andart objects after the military coup in 1973.While doing more research on Chileanpoetry I understood that it has beenvery important since the end of the 19thcentury, with Vicente Huidobro and hisAltazors descending journey by parachutebeing the first great work of the 20th Cen-tury. Alongside Gabriela Mistral, Pablo deRokha and Pablo Neruda, he set the stagefor a modernist and experimental poeticsensibility that would later be picked upby poets like Nicanor Parra, and evenlater, Juan Luis Martnez, Enrique Lihnand Ral Zurita. I like to think Zuritasaerial poems written with smoke from aplane, (The New Life, La Nueva Vida),are linked with Huidobros parachute. Asfar as Neruda is concerned, he is consid-ered one of the greatest poets of Westernculture, and received the Nobel Prize in1971. Recently a debate has arisen as tothe truth surrounding his death. Now it isthought to be one of the first of thousandsof murders committed by the militaryjunta during its years of repression.

In Chile, of all the arts, poetry is theone that has given the country most of itspublic figures. Poetry is practically inde-pendent of all institutional systems, mani-festing itself primarily in salons or literaryworkshops. In this sense, it is commonto find many poets who self-publish, thus

making their creations independent fromthe publishing system. Due to its inde-pendence, poetry in Chile has a halo ofradicalness, and existing outside official-dom. Nevertheless, in the last forty years,poetry in Chile has reached complex lev-els that abandon its traditional mediumthe book or notebook pagein order toexist, for instance in the world of comics(Batman in Chileby Enrique Lihn), oras smoke from a plane (The New Lifeby Ral Zurita). Moreover, poetry has aprofound influence on the other arts. It ispossible to understand this, for instance,inActa General de Chile, the title ofMiguel Littns film about the reality ofhis country during the dictatorship basedon the title by Pablo Neruda, Canto

General de Chile, included in his 1950Canto General.

In late July, Roberto Ampuero waspromoted from Ambassador to Ministerof Culture in his country. I lost touchwith him, but a few weeks later, I wascontacted by the flamboyant ChileanCultural Attach in Mexico so as to con-tinue the plans to destroy my piece. TheCultural Attach wasnt aware of thesecrecy behind the act of destruction andher attitude was much more relaxed.

3.It was only when I saw the first sequenceof Patricio GuzmansBattle of Chilethat Iunderstood the impact of the air strike onthe Palacio de la Moneda6on September11th, 1973. It is the epicenter of the Chil-

ean trauma and the axis of all poetic andartistic production generated thereafter.

The use of the word epicenter seemsimportant in the Chilean context, sinceit is a country located in a telluric zoneand has suffered many earthquakes. Thecover for Juan Luis Martnezs bookLa

Nueva Novela (TheNewNovel)7, shows

6 Translators note: La Moneda was the seat ofSalvador Allendes government.

7 After the coup, during the seventies andeighties, the poet Juan Luis Martnez Holger(1942-1993) self-published a series of booksthat are now considered fundamental tounderstanding contemporary Chileanexperimental poetry. This small collectionof books includes, The New Novel, whichwas re-issued by Ediciones Archivo as afacsimile edition in 1985.

a photograph of three crooked housesafter an earthquake.

This image reminds me of the gulliescreated after great earthquakes, gulliesthat divide the earth, and divide us fromeach other. These gullies also make methink of the following opening lines foranother of Martnezs books, a book thatis a box: Chilean Poetry...:

There is a prohibition to cross a linethat is only imaginary.

(the nal possibility to breach that limitwould come about through violence):

Once that limit is reached, my deadfather gives me these papers:



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These lines make me think of death ina general way, but also of that particu-larly extreme moment when the bombsexploded in Palacio de la Moneda.

But that box/book/poem is muchmore: it contains the death certificates ofthe four great Chilean poets: Mistral, deRokha, Huidobro and Neruda. Organ-ized one after the other, each certificate iscarefully folded and placed next to a smallChilean paper flag, followed by severalpages where the readers can place thedeath certificates of the next Chilean po-ets. In its simplicity, the book is a Parthe-non. But it is also, dare I say it, a magicalobject that asks a very important question:What poet, other than the consecratedones, will have the right to introduce hisdeath certificate in this box?

Could a discussion on poetry lead usto a Coup dEtat?

4.The New Novel(La Nueva Novela) usesspace on two levels: that of the composi-tion of the letters of the alphabet on thepage, as well as the non-linear jumps inthe reading. In its pieces we find com-positional ironies on the expansion andfetishization of communism, where, forexample, the ironic figure of Karl Marxappears carrying a youthful and androg-ynous-looking Arthur Rimbaud in hisarms. Martnez Holger also worked as

a mechanical engineer, thus solving hisfinances. He explored the formal purityof language at the margins of the practiceof his peers, in the Chilean poetry worldand outside of the Leftist militancy ofthe average Latin American intellectualof the time. Although very respected,Martnez Holger is considered both aformalist and an avant-garde poet withan apolitical posture that demarcates himfrom the Chilean conflict of the seventiesand eighties. It is perhaps interesting totrace a parallel between his work and theconceptual artistic postures that arose inthe same years, mainly in Europe and theUSA. Nevertheless, Martnez Holgerswork exists in the context of literatureand not the visual arts.

Even though he has never been recog-nized in the realm of Hispanic Literatureat the level of Huidobro, Mistral or Neru-da, Martnez Holger has been enormouslyinfluential on the younger generationof Chilean poets, of which Ral Zuritastands out and whose aerial poetry inThe New Lifeinfluenced the creation ofBolaos character inDistant Star.

Juan Luis Martnez has a basic fas-cination with the book as an object.Once opened, it is an object thatunfolds temporarily. The object iscontradictory in itself: while it wouldseem to have a beginning and an end,the inside proposes a succession ofinfinite moments (which could be un-derstood as any poets goal). InThe

New Novel, the concept of lines, ofwalls but also of transparency and in-finity are mentioned and representedreclusively throughout the book, fromthe first page to its last. (Elsa-LouiseManceaux)

In one of the first pages the poet cites:

Infinity is reality minus the limit(Juan Luis Martinez, The New Novel)

Juan Luis Martnez applies these con-cepts to the overall structure of the book,always coming back to the blank space

that we find on the page. A page thatsometimes shows only one line of text,a page that leaves space for the reader(author) to write or draw. He even usestransparent pages. In formal terms, theblank (or empty) spaces suggest the ideaof silence, pause and echo (even withthe use of repetition). The poet writesabout silence, and mentions it in variouspoems, especially in Bird Song. Thebook, like his poems and his visual com-positions, and like music, has a rhythmit becomes a rhythmic object. Martnezapplies the methods of deposition andintertextuality, as well as system andword redundancies. Thus, the richness ofthe text is reinforced by the use of emptyspace, or silence, in the pages.

The use of repetition creates situa-tions in which the reading of the pagesgoes from front to back and vice versa.This atypical way of reading challengesthe readers attention and memory (Willyou remember? Can you remember?).Surprise effects and conclusionsleav-ing this openplay with the uncertaintyof the reader (author). One of the bookstactics is to make the reader hypercon-sciousas in each of the texts we re-member that we are reading the book wehold in our hands. This works becausethe uncertainty in reading generates themovement of the reader through thepages of the book.

5.Ral Zurita was a member of the CADAgroup (Colectivo de Acciones de Arte,Art Action Collective) alongside soci-ologist, Fernando Balcells, and artists,Lotty Rosenfeld, Juan Castillo and writerDamiela Eltit. Together they used the

city as backdrop for their performancesand actions. Zurita explains his self-immolation: I had had one of many hu-miliating experiences at that time. AndI remembered the biblical image wherethey tell you that if someone slaps you onthe right cheek, you should offer the leftone: so I went and I burned my face.

Afterwards I understood that was thebeginning of poetry for me. Two yearslater, once the scar had matured, hedocumented his face in photographs,

which he used for the cover of his bookPurgatory (Purgatorio)published in1979 by Editorial Universitaria andwhich collects his poetry from 1972 to1977. Zuritas self-immolation and hislater publication of his burned face couldbe interpreted as a bitter reference tothe massive and indiscriminate bookburning which happened during AugustoPinochets coup in 1973, overthrowingSalvador Allende, who promoted readingthrough the Editorial Nacional Qui-mant. This publishing house, supportedby the Popular Unity project, distributedvery low-cost books throughout thecountry. Its collection spanned classicaland contemporary works of literatureand history, amongst other subjects.



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One year later, once the dictatorship wasestablished it resumed the activities ofthe publishing house under its new andsymbolic name, Editorial Nacional Ga-briela Mistral. Nevertheless, a high levelof self-censorship and fascism existedamongst its authors, who faced the vitalfear of disappearing, and thus started tofake certain bourgeois affiliations andfind creative strategies of visibility toexert criticism. It was in that context ofrepression and cultural censorship thatZurita and other poets, like Juan LuisMartnez Holger, developed visual poetryin extraordinary media such as airspace,street performances and conceptual exer-cises on paper, demonstrating that formalexperimentation could be a tool to masksocial criticism. This is howPurgatoryfinds critical outputs through its relationswith science, and through mathematicalformulas associated with images, inter-textual theorems and humorous gameswith psychiatry, such as the books open-ing lines: my friends think I am madbecause I burned my cheek. What couldhave been initially understood as a mereformal game of gender in Spanish,mad is gendered in the feminine, mak-ing it a funny line ends up hiding thesubversive image of Chile as a nation,personified in the feminine, wounded bythe fire of censorship.

6.For a while it was thought that the poetAlberto Ruiz-Tagle had multiple identi-ties, like Carlos Wieder, Emilio Stevensor Carlos Ramrez Hoffman. Neverthe-less recent findings on the Chilean dicta-torships espionage tactics have revealedcountless anecdotes exposing the darkpast of Milton Friedmans neoliberalexperiment in that southern hemispherecountry.

During the Cold War, Chilean Race(Raza Chilena, 1904), a book by NicolsPalacios affirming that Chileans are notLatinos, but rather the mixture of Visig-oths (Europeans) and Mapuches (SouthAmericans) was the literary materialthat embraced the infiltration of Aryan

groups who felt they identified with thevisceral nature of Chiles inhabitants. Itwas during that migration period that theHoffman and Wieder families arrived. Ofthe latter, the following variations werefound: Weiters, Weiter, Weider, Weitters,Weitter, Weiterse, Wieters, Wieter, Wei-terr and Weiterrs. While Stevenss ge-nealogy comes from the Hellenic world,filtered by Great Britain and arriving toChile through the sympathies betweenThatcher and Pinochet.

Hoffman, Wieder, Stevens and Ruiz-Tagle practiced poetry in unorthodoxways, through their affiliation with theCNI (Central Nacional de Informa-ciones, National Central for Information)and undertaking sublime acts againstleft-wing militants with whose bodiesthey exerted the visual poetry that theircolleagues, such as Juan Luis Martnezexerted on paper. It should be notedthat visual poetry resorts to the absurdthrough the fragmentation of meaning,dislocation, non-linear time, and thedisintegration of bodies and sentencesthat would ordinarily be constructed leftto right and top to bottom.

The four poets form a particulargroup, The Alianza Nueva Vida Chilena(ANV-CH, New Chilean Life Alliance),a collective that never published a singletext, and whose only actions were tomake the enemy disappear. To hide his

group and its aesthetic investigations,they pretended to besapos(toads), acommon practice in which fascist sym-pathizers worked as informants throughtheir civilian activities. In this way,they appeared in society as charismaticuniversity students, while in privatethey created a rough portfolio of visualpoetry with human capital, exceeding thecomplexity of the performative works ofViennese Actionists like Otto Muehl, orBob Flanagan in his last moments.

7.It has been noted that the actions ofsome of the artists, filmmakers and poetsafter the Chilean military coup could beunderstood as the appropriation of certainmilitary tactics that might even remind usof the repressive methods of the regimethey were denouncing. One example isthe renowned poet, Ral Zuritas diggingof trenches in the desert. Of the CADAgroup, we find the use of newspapers to

infiltrate subversive messages, the use ofplanes as a propaganda method to throwpamphlets from the air, or the success-ful massive campaign of NO+ that haseven had media sequels thirty years laterin contemporary Mexico. Moreover, inthe Wieder/Zurita/Bolao case, it is stilluncertain who copied whom, since CarlosWieder made his controversial poeticaction over the skies of Santiago in thefirst years of the dictatorship in the seven-ties and Ral Zurita did it only well intothe eighties, then these acts were finallynarrated during the nineties by the fictionwriter Roberto Bolao.

During World War II, psychologicalwarfare had an almost scientific boom,as in the tests that included sharpshoot-

ers methodically assassinating the firstenemy soldier who was a step ahead ofhis contingent, to name one example.These experiments continued throughoutthe conflicts associated with the ColdWar, where enemy morale was foughtagainst with flyers falling from the skycontaining provocative threats againstthe opponents superiority. Almost at thesame time, when Pinochets dictatorshiphad just begun, some Chilean artists, po-ets, and painters also recurred to aerialtechnology as a method of political andaesthetic exploration.

CADA (Colectivo de Acciones deArte, Art Actions Collective) integratedby Ral Zurita, Fernando Barcells,DamielaEltit, Lotty Rosenfeld and JuanCastillo was founded in 1979. Theywere behind the 1981 Ay Sudamricaaction, which memorialized the Sep-tember 11th bombing of Moneda, theseat of Salvador Allendes government,by throwing 400,000 flyers from the airwith a text on the relationship betweenart and society, inviting Chileans to ex-pand their life horizons as a creative act.We are artists, the CADA flyers read,but each man who works for the expan-sion, if only mental, of his life space, isan artist. Ral Zuritas individual workis now the most well known of all itsmembers. Especially with The New Life(1994) a volume consisting of over 400

pages and 12 years of work. Most of thetexts are defined through their conditionas anecdotes and events that define thefoundation of southern Chile (the 10dreams of the inhabitants of the SilvaHenrquez camp), while others corre-spond, according to Oscar Galindo, to aneternal lyrical flux that spans the birthof the rivers, their arrival into the seaand their ascension into the heavens.8

8.Eugenio Dittborn was another Chileanartist who perceived this atmosphereas a politicize-able resource. During

8 Registro y Transcripcin Testimonial en laPoesa Chilena Actual.



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the eighties he made a series of airmailpaintings, which he folded up and placedin envelopes to send to other cities to beunfolded and exhibited. The aesthetic-political act was found in the folds thatresulted from the mailing of these paint-ings, in Dittborns words, like a poison-ous powder hidden there.9

CADA, Zurita and Dittborn amongstothers, bear witness to the dictatorshipsfascism from the skies. Nevertheless itwas only Carlos Wieder who took thesociopolitical testimony to an extreme,the tautology of evil: being the one whoreplicated the crimes of the dictatorshipthrough his poetry and murders, as wellas from the sky, when he wrote sentencesfrom the bible in the air to demoralizethose who resisted the Military Juntasgovernment.

9.Research made before our first trip toChile in September 2013, into the worldof Chilean literature, had found thatcrouching behind Carlos Wieders figureis Mariana Callejas, who organized theinfamous literary workshop at a house

9 Interview with Sean Cubbit, Entrevistaaeropostal, Mapa: Airmail Paintings /Pinturas aeropostales, 1994.

in Lo Curro, legitimated by the presenceof the important writer, Enrique Lafour-cade, but underwritten by the dictator-ships secret police, the feared DINA(National Intelligence Directorate),which simultaneously used the house asa detention and torture center.

In Callejas literary workshop,located on the third and last floor of thehouse, attendees discussed their texts butalso drank Pisco Sour, atechurrascosand danced to ABBA all night long, thusdefying the curfew imposed by the mili-tary junta. But while this took place, onefloor below Michael Townley, Callejasshusband, was trying out lethal Sarinnerve gas on rats and rabbitswith theelimination of the opposition in mindin what is now known as the secret An-dre Project and whose first human victimwas the poet Luis Waldo Silva Caunic.In addition to this, in other places of thehouse, members of the secret service in-terrogated, tortured and murdered theirpolitical enemies, perhaps to the beat ofdisco music.

A few years later, Townley and Calle-jas became famous when their involve-ment in various terrorist acts came tolight, including the double-homicide ofGeneral Carlos Prats and his wife SofaCuthbert, in Buenos Aires, in 1974.After that act, Callejas accompaniedher husband on other missions. Callejas

travelled with her DINA name, RebeccaVivarVivanco, at the beginning of 1975to Mexico City on a mission to elimi-nate Pinochet adversaries. Amongst hertargets were Allendes widow, Horten-sia Bussi, Carlos Altamirano, a socialist,and VolodiaTeitelboim, a communist, butthe mission turned out to be a completefiasco. She also accompanied Townleyon the mission to assassinate OrlandoLetelier and his secretary Roni Moffiton September 21st, 1976 in Washing-ton. It was for this crime that Townleywould come to fall in the hands of theU.S. justice, extradited to Chile in 1978then extracted from the country by FBIagents. That is also when Callejass idyllwith the Military Junta ended.

Roberto Bolao has written aboutCallejas inBy Night in Chile, PedroLemebel has also written about her in

Las Orqudeas Negras de MarianaCallejas (o El Centro Cultural de la

DINA) and so has Carlos Iturre in Cadaen Desgracia. In the words of authorGonzalo Contreras, who participated inthe workshop at Lo Curro when he wasyoung, the mystification surroundingCallejas is due to the fact that Chileanliterature has such few characters aspsychotic as she was: someone who isboth genuinely a writer and at the sametime a secret service agent. I am not anexpert in psychiatry and I dont knowthe exact term, but Callejas personality isabsolutely dissociated. She had the facultyto live two completely different lives, evenparallel and antagonistic ones, Contrerasconcludes.

Information sources on the writerEnrique Lafourcade, sick with Alzheimerand famous for his book White Dove,fail to mention his involvement in theinfamous Lo Curro workshop duringthe seventies. Nevertheless when facedwith the historical, political and literaryChilean problem between the Left andthe Right, poet Bruno Vidal, self-definedas the last Pinochetist and who somecompare to the feared Carlos Wieder,said in an interview with the Mercurionewspaper on March 18th, 2001: Po-

litically, I realized that the only way ofbeing decent in Chile was by taking sideswith the adversary.

In 2012 the playEl Talleropened inChile. This was Nora Fernndezs firstdramatic work, and presented by LoFuso Theater Company based on whathappened in Lo Curro.

10.In 2006 news about the vast personallibrary Pinochet had amassed was madepublic. He had around 55,000 books onhistory, geography, economics and mili-tary culture, at an estimated value of ap-proximately 3 million dollars. Amongstthe many antique works he treasured are

Relacin del ltimo Viaje de Maga-llanes de la Fragata S.M. Santa Mara

de la Cabeza, 1788; two copies ofLaAraucanadated 1733 and 1776; a firstedition of theHistrica Relacin del

Reino de Chiledated 1646; anEnsayoCronolgico para la Historia General

de la Florida, of 1722; a Compendio deHistoria Civiland Geografa Naturalprinted in 1795 and 1788 respectively;and a book of travels to the south seasand the coasts of Chile and Peru, pub-lished in 1788. Nevertheless not a singlebook of fiction or literature was to befound, with the exception of one bookof poems,El Rigor de la Corneta, byArturo Givovich, a classic of militaryliterature.

His purchasing of books startedbefore he came to power. In his SwornDeclaration of Property, which tookplace on September 21st, 1973, ten daysafter the coup, he declared owning apersonal library worth 750 000 escudos,corresponding to over 12,000 dollars.



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Some antique copies bearing the Exlibris stamps of Lieutenant or AssistantMajor Augusto Pinochet Ugarte are pre-served from that time, such as Geopoli-tics(1968) andLa Guerra del Pacco:Campaa de Tarapac(1972), twobooks penned by him which had a cer-tain influence in the military world.

What is considered to be LatinAmericas largest private library lacks anyartistic value. The few items that could berescued are a couple of copies of militarypoetry books, or, as has recently been dis-covered, copies of magical realism bookssuch asLa Aventura de Miguel Littn,Clandestino en Chile(1986), which por-tray of the nation the General controlled.The story is based on an interview its au-thor, Gabriel Garca Mrquez, had withfilmmaker Miguel Littn, who was exiledin Mexico and Spain during twelve yearsprior to deciding to come back to Chileto shoot a documentary on the resistance.Littn was amongst the list of people whocould not enter his country, so he usedcamouflage strategies to play the partof a conservative foreign entrepreneur.The novel starts with the planning ofthe shoot, Littns arrival in Chile andcontinues following him in his travelsaround Chile, where he films differentcharacters who oppose the dictatorship.Garca Mrquez introduces his character-istic breaks in temporality to narrate the

adventure, offering his readers a perspec-tive on the tension and the dangers facedby the filmmaker in hiding.

When the book was first printed, itis known that the fascist regime burnt atleast 15,000 copies on November 28th,1986 in Valparaisothe same fate asthat of thousands of other titles duringthe early years of the dictatorship.

11.The lawyer Jos Maximiliano Daz is alsoBruno Vidal. Vidal, Bruno,El Negro,isa poet that unfolds, mixing both politi-cal poles: the radical languages of bothRight and Left. In an interview, heexplains that when the military regimestill existed, he was a left-wing person,

but when democracy was instated, hebecame right-wing. Thats the momentwhen he realized that he was the lastPinochetist poet. On this ambivalentpolitical position, this ongoing changeof shirts, he has uttered what I qualifyas a paradox: Politically, I realized thatthe only way of being decent in Chilewas by taking sides with the adversary.This position is, in the words of RobertoMerino, something premeditated, elabo-rated through smoke and mirrors. Vidalpositions his voice from the perspectiveof the torturer to redeem the tortured intwo books:Arte Marcialand, ten yearslater,Libro de Guardia.

His last books opens thus: Aqu laluz de los reectores/ No le har dao /Se usar slo en la produccin / de efec- tos escnicos/ -Reljese compadre-.10After this presentation, we could thinkthat Bruno Vidal is the staging of an effect.A disquieting effect, because it confuses;an effect with which it is impossible forus to know whom we really face since heplays his game very well, he is in control.

Nevertheless our correspondencewith Bruno Vidal also shows a certainvulnerability (all caps are his):

PARDON THE QUESTION, AREYOU COMING ON YOUR OWN ORTHROUGH SOME LOCAL AGENCY?

The question can be understood asthe need to understand what team were

playing on, which shows that he is guard-ed. But perhaps he only prepares thegame he will play with us, his discourse,which would mean that in truth, behindthe apparent humility of the question, heis a strategist, a performer who proposesthe following in his poetry:

Estoy encantado de estar escri-biendo una de las obras/ ms

singulares de la poesa chilena /de estos ltimos decenios/ A vecesme pregunto qu saco yo con toda

esta faena/ de pastor empuando

10 Here, the reectors light/ will not hurt you/it will be used only/ for the sake of theatricaleffects/ Relax, buddy.

un arma de fuego/ Personalmente,una cuota narcisista/de alto valornutritivo, en eso que el lenguajebanal/ llama autoestima/ Aparte

de eso, Sangre, Sudor y Lgrimas/Por favor, admitan esta disgresinde pareceres azarosos/ Me conci-erne en la piel la voluptuosidad/del Autoritarismo Chileno/ Tan enboga, tan proclive a un imperativo

categrico/ insalvable para la ma-yora de mis compatriotas.11

Bruno Vidal is the personification/embodiment of a double-discourse thatis perfectly calculated and structured,at least in terms of the media. Perhapswhat he finds scary is that we will cometo Chile to film him from an outsidersperspective. We will come without theintimate understanding of the Chileanpolitical game his gamewith questionsthat might be uncomfortable for him. Andtherefore, he might not be able to controlhis answers, directing their meaning andtheir sense, as he usually does.

His worry makes me wonder, whatagency are we working for?

The Ghost BureauLater on, Vidal replies:I am happy to hear from youI

understand better nowyou will be afew feet away from the Plaza de Armasin Santiago and only a few steps from

the subwayGod willing the bookswill arrive and you can tell me your firstimpression. I am sorry to be so candid,but I think that this is essential for usto understand each other in a moreproductive way. Your reading of me, your

11 I am thrilled to be writing one / of the mostsingular works of Chilean poetry / of the lastdecade / Sometimes I ask myself what do Iget / out of all these tricks / of a shepherdwith a rearm / Personally, a narcissistquota / of high nutritional value, that whichbanal language / calls self-esteem /Aside from that, Blood, Sweat and Tears /Please accept this digression of hazardousappearance / My skin is concernedwith the voluptuousness / of ChileanAuthoritarianism / So much in fashion,so inclined to a categorical imperative /insuperable for the rest of my compatriots.

qualified reading, will have a very anti-endogamous effect. I am interested in thereading you will give my books outsideof Chile Anyway, dear friend, I intuitwe will understand each other and keepgoing a fraternal salute, Bruno

In the opinion of Gabriel Medina, aChilean academic, Vidals voice is that ofsomeone who is disenchanted with thetransition (or, as Pinochet would defineit, the advent of democracy). If we un-derstand this poet from the perspectiveof disenchantment, we could understandthat the collapse of the languages of theRight-wing and Left-wing discourses is,beyond all appearances, an anarchistposture. If so, then Jos MaximilianoDaz is in truth an anarchist.

And if so, could we perhaps beginour work?

12.On September 10th a literary workshopwas formed in Mexico, with the inten-tion of analyzing texts by Bruno Vidal,Juan Luis Martnez, Roberto Bolao andothers, so that during the second part ofthe filming we might build a workshop inChile based on the aforementioned texts.The idea of creating a literary workshopsupports the cognitive platform that theactors will use.

Beyond the importance of experiment-ing and understanding the group dynam-

ics of a literary workshop, the Mexicanworkshops role is, first and foremost, tocompile and organize the written materialalong with the information generated(directly) during the first trip to Chile,and thus enable the editing of a magazinebased on GRANTA Review of Literature

and Photography, which will be used asthe book that contains all the informationwe need to make the movie.



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13.IDEOLOGICAL CUBISM is an idea thatfunctions as a kaleidoscope of texts thatconstantly point towards different ideo-logical sides, from the Left, the Right andalso Third Way. Ideological Cubism doesnot only include poems, it is a poetic actin itself. It is the collision between textsby Neruda and those by Serrano, betweenthose by Vidal and those by Zurita, allbroken up in the space of a page, like apoem by Juan Luis Martnez but withNicanor Parras humor.

#6DIALOGUES

Carlos (CA) . DirectorElsa (EL) .. ScriptwriterPhilippe (PH) .. Actor

Millaray (MI) .. ActressJacinta (JA) .. ActressCamilo (CM) ActorManuela (MA) . Art directorDaro (DA) ... .. CameraClaudio (CL) Sound recorderAntonia (AN) .. Director assistantPeter (PE) Sound recorder assistantFrancisca (FR) . ChoreographerDancer 1 and 2



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SQUASH

The 11th of November, 2013, from 10:00 a.m. to 11:00a.m., Philippe and Millaray practiced pronouncingonomatopoeias while playing a game of squash. Every timethey hit the ball, they made a sound.

Take 1Shot from outside the court.

We see the shadows of the people on the team.Millaray appears unskilled: she cant hit the ball, Philippesdrives scare her.The ball ricochets off different walls, one after the other.Millaray laughs and shakes her racket, looking at Philippe.Philippe and Millaray talk, ball in hand, stroking it.Millaray runs toward the corners.

Take 2Philippe hits a hard drive and frightens Millaray.Millaray and Philippe shout. Philippe shouts louder.They begin to tire.The ball enters and leaves the court.Millaray and Philippe seem to be having fun.Millaray falls on the floor, laughing.

Take 4Without rackets, they pronounce onomatopoeias withoutacronyms yet.It begins to become apparent that the gesture of holding theracket is turning into holding a knife.Philippe emphasizes the gesture of the knife.

Take 5Philippe on camera.The gesture of the knives is explicit, but softer than the lasttime. Strike.They pronounce onomatopoeias and exhale a great amountof air.

CARLOS: Id like us to emphasize the sound, trying tond a relation between the squash ball were playing withand the onomatopoeias in the script, with the cameracatching general and specic angles. We could think of aconnection with Quebrantahuesos12(Bonebreaker),

for example, or with Diego MaquieirasAnnapurna.13

CLAUDIO: We could experiment with noises out ofcontext. Im thinking of how players moan, or therelation between laments and sounds of pleasure.

CA: Lets also separate the microphones focus in two,for the squash strike and the knife stab Lets start

12 A broadsheet created by Nicanor Parra, Alejandro Jodorowsky and EnriqueLihn, among others, at the beginning of the 1950s, displayed at public places inSantiago. It was articulated around cut-outs of phrases and images that circulatedin newspapers and magazines, creating dynamic typographic headlines. (Kottow,2010. Riffo, 2011. Kay, 1975).

13 Around 200 visual poems, created from photocopies of photographs intervened bythe Chilean poet Diego Maquieira, with brief texts written with markers and a white-out pen. Annapurna is a section of the Himalayas in Nepal, it is a Sanskrit word thattranslates a full of food.



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creating a sound archive with the sounds of logs, thetriangles, the gas tanks banging on the truck, the shipsreaching their port, and any other we can come up with.

CL: The ports elevator cables.

PHILIPPE: I propose we work at night.

During lunch there is talk about the texts that will makeup the script, through a compassed visual and auditoryregister, to understand the texts as musical scores between

the actors speech and the writing. Claudio suggeststhinking about the symbolism of concrete music scores andof different ways of recording, according to the distancebetween the emitter and the receiver, while Carlos talks

about the blank page, like the frame of a shot, to delimitthe inside and outside of the camera.

CARLOS, ELSA, PHILIPPE

On the evening of November 11th, 2013, Carlos, Elsaand Philippe got together to talk about the creation of thedialogue.

CARLOS: The camera is going to be a space and astage. We also have to think of something special forCamilo, since the other actors have rather large roles.On the other hand, its important we keep in mind themusicality of each phrase and the relation of the text tothe actors.

ELSA: That which is spoken comes from the body, likewhat happened during rehearsal. The acronyms begin tobecome a device.

CA: The phrases cant be too long.

EL: Ive started to see spoken language.

CA: We can use the language weve created with theacronyms of Chilean political and artistic groups, theones that were created during the dictatorship, like MIRand CADA,

and we can bring in external sources to our research.

PHILIPPE: Thats clear enough: its an invented languageuntil something else comes up.

CA: Elsa is putting together a collage of phrases,



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taken from the manifesto and from Chilean poetry.14We hope that with Antonias text the lm lasts for anhour and twenty minutes.

PH: We should be wary of aphorisms because theyreclosed. We should have open texts so that the sensedoesnt ow in one single direction.

CA: Philippe, your role will be that of the masterphilosopher; you will illuminate and create thestructure. Claudio, Millaray and Jacinta must repeat

your words and understand your lines of dialoguelike, Misunderstanding is the Devil Everyone willassimilate it differently so that the words remain in theecho. The rst part of the manifesto can be read in theforest, the other somewhere else.

EL: Ive noticed that the sentences can be used bycutting the words.

CA: Lets imagine three structural parts to the lmwere making: the narrative (introduction, ve pointsand a conclusion); the time (morning, afternoon andnight); the space (forest, estuary, beach and house).Not necessarily in a linear order. On the other hand, weshould be conscious of the fact that the narrative senseof the story is different from the practical order in whichwe lm it. Antonia will be in charge of the latter. Though,in the end, its a matter of dislocating structures, andcreating the sense that events are repeating themselvesall the time, like echoes or reections.

EL: Philippe will speak the phrases Im working on, sothat the other characters can start to learn them.

CA: Agreed, but think of them as song and chorus.The chorus is whoever repeats what was just said.Maybe at the end, theyll start to make their own words.

14 For eight months prior to shooting, Carlos Amorales studio researched Chileanpoetry written during Augusto Pinochets dictatorship, under the premise of theideological indistinction of the text, between Left and Right, a position later calledideological cubism by Amorales. The studio wrote a manifesto around the new termand transformed the research into poetic resources for the creation of the script.

ONOMATOPOEIAS

The morning of November 12th 2013, the actorsexercised their pronunciation of acronyms asonomatopoeias.

Take 1

M: The awareness of the act of speech.

P: We have to let go, we mustnt hold back.M: To be able to pass from a normal line of dialogue to astutter.

P: Manifesto.M: That it manifests, that there is nothing hidden behind.P: There is much hidden behind. It is not human logic, it is

more divine, moreabsolute. I know what the logic is. I try to transmit it,but you cannot understand it.

Millaray is divine, she manifests herself and can change form.Camilo seems skeptical.Millaray starts to move her head, trying to follow Philippe.She smiles.Jacinta just watches.

M: Earth.P: Rrrth.M: Raja.J: Oggg. Pooooog.

Jacinta keeps making noise and coughs.

M: Mani.J: Mani.C: Mani.P: Rrrrrrruuuuuu.

Millaray moves her arms.Jacinta laments.Camilo intervenes, always the calmer. He raises his arm.Philippe directs with his hand.



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Take 5

Gathered in a circle.Millaray and Camilo reach out their hands.Jacinta covers her face.Philippe is standing in a single place, directs Jacinta with hishand.The three stand before Jacinta.

J: EstuP: Map

J: NapEverybody babbles.

M: Din mir.Everyone: Mir Ishashh

Millaray babbles and looks at Jacinta. They seem to argue.

P: YAAAAAAAAA!

PHILIPPE: In general, its better to be lower.

CLAUDIO: As long

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