Improvising with my voice, starting experimenting with singing INTO things in my home; when I starting using a white ceramic bowl, I noticed it had this damping effect, and it felt good;
It made me start thinking: What if our spoken language itself, is corrupt? The core of my search so far has been the spoken language, and I have seen it as a kind of collective bio recorder, a place where we store cultural traits, gesture, movements, and experiences, IN SOUND.
We store them, and are able to retrieve them throughout generations. In this manner, a treasure of valuable cultural knowledge survives through time. And I have seen this heritage as some kind of true, authentic, and …. real testimony. I have seen it as a bulwark against the attacks from the efforts from a centralized and centralizing, atomizing corporate state system. As opposed to the now spoiled relationship between production and culture, … read more in the comments below…
– the loss of a real folklore – spoken language would be the hiding place for a surviving cultural sustainability.

But what if my mother tongue itself has been corrupted as well? What if the prosody of my mother tongue is a bearer of the wounds inflicted by hundreds of years of assaults from unsustainable cultural processes?

The question I used to ask myself was: How can we draw on the sound patterns embedded in our spoken language to (re)build cultural sustainability?

Maybe the question I should ask now is: How can we draw on culturally sustainable patterns/gesture/sounds and embed these in our mother tongue?

We would then cure our spoken language, and provide our future generations with a means – through a healthy spoken language – to resist attacks from the ongoing colonizing efforts it might encounter.

“Digte er kommunikation, og selvom sproget er korrumperet af magten og den almindelige nedslidning, så lever drømmen om at skabe et kunstnerisk „parallelsprog“, der kan sætte verden i bevægelse.
Det fremgår især af det, men også af Christensens romaneksperimenter
Evighedsmaskinen (1964) og Azorno (1967) og af hendes hørespil for radioen.”

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