Doc’s Kingdom 2019 Floresta de signos ~ Forest of signs Arcos de Valdevez 1 - 6 de Setembro de 2019 1 Com a cabeça nas estrelas, envoltas em tecidos estampados coloridos, deambulemos pelas forestas em busca de territórios imaginários. Entre o céu e a terra, luz e trevas, memória e esquecimento, que cintilem as projeções e ressoem as palavras. Vamos abrir as janelas e deixar o vento entrar. Vamos mergulhar em águas intemporais refetindo as chamas vacilantes das nossas vidas multiplicadas. Vamos desbastar, cortar, cavar, tecer, desdobrar e desenhar mapas para nos perdermos, para melhor nos encontrarmos no mundo habitável do cinema. Agnès Wildenstein, programadora convidada ~ Te head in the stars, draped in colorful patterned fabrics, let us wander in the forests in search of imagined territories. Between sky and earth, light and darkness, memory and forgetfulness, may the projections sparkle and the words resound. Let’s open the windows and let in the wind. Let’s dive into timeless waters refecting the fickering fames of our multiplied lives. Let’s cut, open up, dig, weave, unfold, draw maps to get lost, in order to better fnd ourselves in the habitable world of cinema. Agnès Wildenstein, guest programmer 2 3 Índice according to the present 11 after emigrating 15 animism 25 apprendre 26 archéologie, ça fait penser 27 at the instigation 28 both sides 35 but what a spiral 36 can we feel 38 carnet du bois 48 ce que j’aime 51 cena 16 52 ces mots 53 chamar 54 cher robert 56 chinawaren 57 classification of embroidery 58 color is something 63 concept of the real 66 constellational filmmaking 68 contre-estampes 69 creation of colonial reality 82 dawn 84 dear mohanad 85 degree 91 etymology of revolt 94 every idea 95 folha 46-d mertola 96 for many years 98 4 5 forêt 99 melancholy 180 frau im mond 100 method 184 frontiers 101 meu lírio roxo do campo 185 fundamental to the power 102 mine 186 haiku 105 most commonly represented 187 hunter-gatherer 108 museums 191 i am not going 115 nature produces 200 i looked at the three trees 119 nekoč 204 i saw the pines 121 no final 205 i was studying 122 open a travel guide 213 ici, nous trouvons 124 orchidée 214 identification 125 our book proposes 217 if anything more 130 our first film 219 imperial landscape 132 our speech 226 in a letter 133 perhaps understatement 227 in certain circumstances 134 phenomenology of roundness 228 in the day of cock-a-doodle 135 plaisir 229 indeed, the images 140 quand l’ombre 230 indians 141 quelque part en 231 inner space 148 reality is more 236 it’s not that 149 roots 238 j’entends par écriture 151 runa puma 246 j’ai commencé à imaginer 153 salut 260 je me nomme 155 sarajevo 261 kino 156 sensivelmente 262 l’imagination 157 siehe, die bäume 270 leave and leave 158 signs resemble images 271 leaves 159 sky map 274 les paysages – si beaux 162 snowy houses 275 let us not begin 163 song of the open road 280 ma campagne 168 sovereign and soul 289 maghni aldam 173 sprache 291 marxist analysis 174 strassen im westen berlins 292 mas também 178 subject 295 6 7 teaching of the priests 296 there are two ways 298 think for a moment 204 this cosmic vertigo 307 those who here 308 thought of all those women 309 three american beauties 313 André Gil Mata 52, 156, 261, 275-279 time of our liberation struggle 314 tired of all 315 Hiroatsu Suzuki & Rossana Torres 219-225, 262-269, 340-341 tissage 326 today the site 329 Ian Soroka travelling outgrows 334 35, 95, 119-120, 121, 186, 204, 227, 308, 314, 359, 364, 365 trilogie 335 trop d’espace 339 Jean-Jacques Andrien true to materials 340 151-152, 155, 162, 168, 335-338 un soir tranquillement 342 Jodie Mack univers tout entier 344 25, 38-47, 370-378 verbo a-terrar 347 Johann Lurf was habe ich erwartet 358 100, 122-123, 313 we must do 359 Laura Huertas Millán we were no longer 360 84, 187-190, 217-218, 226, 236-237, 246-259, 307, what benjamin advocated 363 315-325 what may appear 364 Lula Pena with every archive 365 54-55, 340-341 yagé nights challenge 366 Mohanad Yaqubi yielding to 369 85-90 your film 370 Robert Kramer 15-24, 53, 56, 205-212, 295 8 9 (...) According to the present state of our knowledge, which is far from complete, the Amazon forest is home to 1,300 species of birds, 427 species of amphibians, and 425 species of mammals. (1) Tese animals, in spite of their large diversity, mainly depend on plant-based food sources,(2) which are unevenly distributed and subject to wide seasonal variation. As a result, the animal population is both low in density and highly mobile, while a large part of the game sought by native hunters is nocturnal and/or arboreal.(3) All of these features make hunting in this region a complex and very challenging activity whose outcome is always unpredictable. Moreover, as one would imagine, the thick tangle and great diversity of vegetation in the forest—50,000 species of plants and trees(4)—create a vegetal screen that, beyond a very short distance, is impenetrable (1) See Russell to the eye. Tis means that hunters are only able to Alan Mittermeir et al., “Wilderness discern or, at best, glimpse their ever-elusive prey, afer and Biodiversity observing possible clues as to their presence on the Conservation,” in ground. Proceedings of the National Academy of Sciences 100, no. 18 Consequently, it is mainly through the experience (September 2, 2003). of listening to their environment that they are able (2) Seeds and fruit to detect the presence or movement of game in fallen from trees or the undergrowth or up in the treetops. It is thus directly foraged in the tree canopy. The layer understandable that Amazonian hunters not only of fallen leaves on acquire an extensive knowledge of the sounds of the the ground is poor in forest from a very young age, but also that the concert nutrients. of animal sounds that constantly surrounds them (3) See Leslie E. deeply informs the language and the cosmology of their Sponsel, “Amazon Ecology and people. (...) Adaptation,” in Annual Review of Anthropology When out hunting or gathering, the Yanomami, as they 15 (October 15, 1986). make their way through the forest, maintain an ongoing (4) See Kenneth J. dialogue with its many diferent voices. Teir attention Feeley and Miles R. Silman, “Extinction Risks is thus continuously turned toward and listening to the of Amazonian Plant biophony of the forest, and they are always quick to use Species,” in Proceedings mimicry to respond to their nonhuman interlocutors. of the National Academy of Sciences 106, no. 30 Moreover, in addition to this ever-attentive acoustic (July 28, 2009). focus, they are constantly involved in decoding an 10 25 OCTOBRE 1990... BERLIN… 11 elaborate system of sound associations connected with imitation covers not only game animals, but very nearly the notion of heã. all of the fauna in the forest area known to and traveled by hunters (most Yanomami names for birds, game or Tis is the term hunters use for the songs, cries, and not, in fact come from onomatopoeia based on their calls of many birds (as well as of amphibians and songs).(6) certain insects) that they interpret as acoustic clues indicating the possible presence of the prey, fruits or Te aim of such call hunting methods is to make game plants associated with them. As one hunter laconically “run up” (rërëmãi) in front of the hunter, while he summed it up for me, “When there are many animal conceals his human appearance under a sound mask voices talking in the forest, we say there are sound signs in order to be perceived, at least in voice, as a fellow of game among them.” animal, a mate, or an ofspring. Tey are thus strategies designed to attract, entice, or provoke a sense of caring (...) in the animal that will induce it to become docile and Te etymology of the term heã probably comes from available, waroro, a word that is also used to describe he, “head,” which refers to the tip or “endpoint” of the open, generous feelings associated with friendship, something, and ã associated with sound and voice. love relationships, or parenthood (the verb waroroai Te intransitive verb heãmuu means “to mark one’s means “to let oneself slide”).(...) presence by a sound.” When approaching a friendly Davi Kopenawa ends his description of the tapir hunt collective house, for instance, the act of whistling to with a series of onomatopoeia related to the killing announce one’s arrival is called husi heãmuu. Te term of the animal: “Taiii (the snap of the bowstring)! can thus be linked to the idea of a “sound marker.” With Kosho (the impact of the arrow)! Uwooo hoo hoo hoo its complex network of associations between indexical (the tapir whimpering in pain)! Tëk tëk tëk (its feet animal voices and the presence of game or useful plants running away)! Kurai (sound of the animal falling)!” in the forest, the Yanomami heã constitute a permanent Te narrative art of the Yanomami makes pervasive use and fexible acoustic positioning system that, inculcated of onomatopoeia and ideophones, demonstrating once from a very early age, can always be relied on to guide again the infuence of the acoustic environment of the hunters and gatherers through the “great animal forest in Amerindian forms of linguistic expression.