NORA AURREKOETXEA

jausi
erori
amildu
the failure of communication,

the loss

I have been thinking about the meaning of words,

about the meaning given to (and taken from) some words or/and
more than from others,
depending on the stage they take place on,
depending also on the emotional relationship attached to them, the adventure
of losing control
in time and space
a word can address a feeling,
an experience
… groundlessness

a radical imbalance.

not only because they are vessels of subjective meaning/experience, but because
to pronounce it, breaks the event no one can validate the meaning of the expressed words shared between the subjects speaking
breaks the encounter

creates a before and an after, encounters are failed attempts at communication

a rift.

falling

the meaning is never shared,

even when we try to define it in a common consensus as a point of departure
in order not to have any misunderstandings,
which hardly ever happens.

there is no form that contains what we mean to say in these

trying to avoid the failure is a way of denying the power of language itself,
losing the element of surprise,
shapes trying to control or to predict beforehand what will come next,
exempt from harm
sounds saved
safe.

risks are always there,

with or without a rope.
when we accept the impossibility and almost utopic action of stating a common and shared meaning for some words, or/and
we open the doors for harness.

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 I bought
flowers for myself

I miss you

As you can´t know what it means for me, I better ask you what it means to be reading this
from me

to you.1

1
Personal correspondence of the author. 2018

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84 85
Lit élastique / tu me manques

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88 89
 (Naja)

First movie:

‘One person is walking, and falls, gets up and then re-falls, then gets up, bul comes down
again’
There’s an initial surprise to this;
like oh!
She’s down,
oh!
She’s down again!

And it becomes something to look out for/expect, and because of the repetition of the
falling action (and not much else), it creates a rhythm and it becomes a unit of movement
rather than a series – which is interesting.

Naja
Then a second person entered and the rhythm seems intensified and the falling and
getting up together seems to make the falls a response to something? (I had no sounds so i
might be missing something – let me check...)

Naja
Ah! There’s a tricker:
The sound

It was actually rather cool watching with no sound cause I was like: why is she falling? ls
she ill? ls there an earthquake? A disaster? Or maybe it’s that moment where you try and
try but it doesn’t work – the impossible life...
And when the second person comes in and i’m like: ahl There MUST be a tricker,
otherwise how do they know when to get down? Or is it just super-coordinated?

Naja
Without sound it’s a bit more open perhaps? Dont know if that’s, possible IRL
performance unless you find a way to sense each other? That's a thing to try?
Use ALL senses, hearing, looking, wide angle, intuition – with more people it might become
a domino effect

like an ocean rising and falling...

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 ça touche
ou
ça touche pas?

fumer à coté de la fenetre...

“Tu n’es pas très tactile, n’est-ce pas?”

pas vraiment...

oh... donc c’est un must pour moi...

répondre

bien...

noli me tangere

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il n’y a pas d’amour sans la chute
there is no love without the fall

tomber
comme
une
violent
acte

to fall
as a
violent
action

the fall as a violent act

love
or/and
violence

the fall
to fall
or/and
falling
tomber
comme
une The drama of verticality
violent
action

la chute
ou/et
la choir

I cannot move my neck

the vertical perspective is lost

Je le répète comme un mantra

Ils travaillent comme des slogans

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