Paper short abstract:
A singing orna/mentor's acts are to follow, to divert, to oppose, to compose, to clarify, to reassure. They are sounds in multiple versions, isolated mad scenes, landscapes governed by wilderness creating a desire to continue an irrational performance of ornamented translations of an original doing.
Paper long abstract:
Entering a(n original) line, making it part of an everyday breath; taking a good look at a specific detail: spiralling into its very centre, starting to cut and chop it into parts, searching for every possible aspect of the thing-in-itself, touching its surface and finding it all tremendously curious; in the midst of the sensuous experience silence rises like a bridge ahead - opening up for unknown points on the other side: points being other narratives, other imaginations, other associations…
The singing orna/mentor's path is irrational, allowing curiosity to guide. What's left in the orna/mentor's footsteps is a trace being crystallized and clearly visible. The dots that were ahead, they have become a firm line behind. The orna (read as: urn, pot or thing-in-itself) has been cared for by a mentor's mind and doings. The orna/mentoring hand. The vocal caring has created endless variations of sounds-in-themselves: ornamented versions of the original. The doings of the orna/mentor are original and can never be made the same. The effect can be read as a translation of one doing of another doing of another doing. Creating multiple understandings/narratives/fabulations/doings based on a simple original doing.
Knowing by singing: song, acoustic ecologies and the overflow of meaning