{"id":61006,"date":"2024-10-28T07:10:01","date_gmt":"2024-10-28T06:10:01","guid":{"rendered":"https:\/\/a-desk.org\/?p=61006"},"modified":"2024-10-28T14:47:37","modified_gmt":"2024-10-28T13:47:37","slug":"environmelisma","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/environmelisma\/","title":{"rendered":"Environmelisma"},"content":{"rendered":"<p>Over the last years, we have been working on a research and film project about the relationships between three interwoven extractivist processes in Murcia, in the southeast area of the iberian peninsula: the mining in La Uni\u00f3n, the urban speculation in La Manga, and the agroindustry in Mar Menor, the biggest salty lagoon in Europe<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_1');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_1');\" ><sup id=\"footnote_plugin_tooltip_61006_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_1\" class=\"footnote_tooltip\">The working title of the film is \u201cAquel verano del 22\u201d. The sound is made in collaboration with Pedro Andr\u00e9; the script was written together with Dami Edwards, in dialogue with Zineb Achoubie,&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_1');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. The three are adjacent to one another. The project approaches these connected situations, and it investigates how the people cope with them through culture and activism.<\/p>\n<p>Together with Pedro Andr\u00e9, we have been filming the territory and recording the soundscape, in addition to conducting a series of interviews. One of the main threads we have followed has been the declaration of the legal personality of the Mar Menor; the other, the traces inscribed in culture, such as Flamenco. The question of the <em>voice<\/em> in both threads has been fundamental, both with humans, but also to try to understand how the environment can communicate. In these next lines, I will try to introduce the word I came up with: <em>environmelisma<\/em>. This text is not enclosing a definition as such, but instead it brings forward a series of approaches that work as communicating threads. The term proposed in the text tries to find a way to describe what one can <em>apprehend<\/em>\u00a0from nature. Beyond the meaning, it is the sense. The sense is what touches and heats. The sense is what sets things in motion. The sense is an interchange, and energy, a flow, a process of semiotic <em>osmosis<\/em>. In that way, it binds together the notion of environment with the practice of melisma.<\/p>\n<p><em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em>1.- Environment<\/p>\n<p>It also refers to the coining of the term environment by philosopher Thomas Carlyle, following the genealogy proposed by Ralph Jessop<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_2');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_2');\" ><sup id=\"footnote_plugin_tooltip_61006_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_2\" class=\"footnote_tooltip\">In 1835, John Sterling, complained to Carlyle about \u2018environment\u2019 as one of several Carlylean neologisms, and he noticeably objected to the barbarity of these new terms as \u2018words, so far as I&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_2');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>: <em>Some such genealogy helps to position the coinage of \u2018environment\u2019 within a broader narrative of the transmission of organicist, anti-mechanical, counter-Enlightenment discourses, bringing the notion of environment into relation with a much more extensive story of later attempts to undermine the authority or prevalence of mechanism by writers, thinkers, composers, artists, and campaigners throughout the 19 and 20 centuries<\/em>. In terms of the ecocentric positions, this genealogy is interesting not only because it directly includes non-scientific positions (without excluding the scientific ones), but also because of the open, playful ways the notion was assembled using a French root to translate from the German word <em>Umgebung<\/em> in the sense espoused by Goethe. In that spirit of word play, I came to include <em>environ-<\/em> as the prefix of melisma.<\/p>\n<p><em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em>2.- Melisma<\/p>\n<p>The <em>Minera<\/em> is a musical style originally from La Uni\u00f3n and the miners who worked in that area. The lyrics are a record of the hard conditions of the labor there and a testimony of the solidarity among workers. The melismas are one of the mightiest elements of the singing, in which the emotion concentrates, keeping a syllable going up and down with few notes, back and forward, modulated by the gestures of the hands and the muscles of different parts of the body, and the inner forces that tint the sound. The <em>sense <\/em>comes not from the words, since at that point there is none there, but from the sound itself of the voice.<\/p>\n<p>One of the most touching moments during the filming was an interview with Encarnaci\u00f3n Fernandez, the most remarkable singer from La Uni\u00f3n, especially when it comes to the <em>Cantes de Levante<\/em>, of which the mineras are the foundational part. After the interview with Encarnaci\u00f3n Fernandez, Antonio Mu\u00f1oz\u00a0 (her son and a guitar wizard) and the <em>cantaora <\/em>granted us with a few songs to film. When Encarnaci\u00f3n sang, we had goosebumps. Among the music, the lyrics, and the power of the voice, the emotion was more accentuated in the <em>ayes<\/em> and the melismas.<\/p>\n<p>Flamenco is one the genres that play with melisma. But we can also find it in diverse geographies, as Sylviane A. Diouf<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_3');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_3');\" ><sup id=\"footnote_plugin_tooltip_61006_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_3\" class=\"footnote_tooltip\">Strong trembling sounds, melisma (changing the note of a syllable while it is being sung), wavy intonations, elongated notes, long pauses between sentences, glissandos, and a certain nasality are&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_3');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> and Simon Jargy<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_4');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_4');\" ><sup id=\"footnote_plugin_tooltip_61006_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_4\" class=\"footnote_tooltip\">The highly ornamented, melismatic chant which may be called &#8220;long&#8221; for lack of more exact terminology, and which the ancient Arab chroniclers called &#8220;heavy&#8221; (thaq\u012bl): in&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_4');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> describe it in relation to Arab and Andalusian music, or Laz E. N. Ekwueme<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_5');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_5');\" ><sup id=\"footnote_plugin_tooltip_61006_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_5\" class=\"footnote_tooltip\">It is known that in general Africans sing one note per syllable. Occasionally, however, melisma occurs, but generally on exclamations or nonsense syllables. These also provide opportunities for the&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_5');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> and Gherard Kubik<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_6');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_6');\" ><sup id=\"footnote_plugin_tooltip_61006_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_6\" class=\"footnote_tooltip\">The type of pentatonic singing (with much employment of melisma) which we are finding today in musical genres such as \u1e63akara, \u00e0p\u00e0l\u00e0, etc. is based on Islamic-Arabic traits that were filtering&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_6');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> point out regarding African music; Kubik will locate the origin of the use of melisma in Islamic-Arabic. This makes much sense listening to <em>maww\u0101l <\/em>and reading the description by Shireen Maalouf: <em>In Arabic Music, the maww\u0101l (Arabic:<\/em> \u0645\u0648\u0627\u0644; <em>plural: maw\u0101w\u012bl,<\/em> \u0645\u0648\u0627\u0648\u064a\u0640\u0644) <em>is a traditional and popular Arabic genre of vocal music that is very slow in beat and sentimental in nature, and is characterised by prolonging vowel syllables, emotional vocals, and is usually presented before the actual song begins. The singer performing a mawwal would usually lament and long for something, such as a past lover, a departed family member or a place, in a wailing manner<\/em><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_7');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_7');\" ><sup id=\"footnote_plugin_tooltip_61006_1_7\" class=\"footnote_plugin_tooltip_text\">[7]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_7\" class=\"footnote_tooltip\">MAALOUF, Shireen, <em>History of Arabic Music Theory: Change and Continuity in the Tone Systems, Genres, and Scales<\/em>. Kaslik, Universit\u00e9 Saint-Esprit, Lebanon, 2002.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_7').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_7', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<em>\u00a0<\/em>Additionally, it\u2019s important to mention that the first European music school was founded in C\u00f3rdoba in the 9th century, by an African-Arab composer who came from Persia<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_8');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_8');\" ><sup id=\"footnote_plugin_tooltip_61006_1_8\" class=\"footnote_plugin_tooltip_text\">[8]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_8\" class=\"footnote_tooltip\">GIOA, Ted, The Most Important City in the History of Music Isn&#8217;t What You Think. We can learn from the C\u00f3rdoba Miracle\u2014and not just about music. Something also to remark from this article:&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_8');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_8').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_8', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Ziryab was his name, and he popularized the song-sequence, which may have been a precursor to the <em>nawba<\/em>, in which melisma is largely used. His work had great influence in what later would be the Andalusian music and culture that would flourish on different shores of the Mediterranean.<\/p>\n<p><em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em>3.- Duende<\/p>\n<p>What these examples have in common is that the use of melisma tends to relate to intense emotions, often in traumatic occasions. In Flamenco, when the melisma appears, it\u2019s not only a matter of the voice. This non-verbal part of the singing has to do with the performance of the body. Although the body is present constantly, it is during the variations of tones that the body revolves, marking with the movements of hands and gesturing with the muscles of the face the shifts of the singing. Not by chance, the <em>ayes <\/em>(the meslima) is also called <em>quej\u00edos<\/em>, which means complaints.<\/p>\n<p>Within the melisma, it is during one of the moments called <em>duende<\/em> that it is more present: <em>One of the things that marks the arrival of <\/em>duende<em> in flamenco singing is a sound of trouble in the voice, The voice becomes troubled. Its eloquence becomes eloquence of another order, a broken, problematic, self-problematizing eloquence (\u2026) So you see that <\/em>duende<em> is something beyond technical competence or even technical virtuosity. It is something troubling. It has to do with trouble, deep trouble. Deep song delves into troubled water, troubles the water<\/em>. Even elusive and impossible to define, Nathaniel Mackey approximates an understanding of what <em>duende<\/em> can be. <em>To be possessed is to be mounted and ridden by a god. You find that imagery in vodou in Haiti, in candombl\u00e9 in Brazil, in lucum\u00ed or santer\u00eda in Cuba. Possession means that something beyond your grasp of it grabs you, that something that gets away from you\u2014 another sense in which fugitivity comes in-gives you a voice, like Lorca, who, remember, refers to lucum\u00ed, I think of this as related to <\/em>duende<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_9');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_9');\" ><sup id=\"footnote_plugin_tooltip_61006_1_9\" class=\"footnote_plugin_tooltip_text\">[9]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_9\" class=\"footnote_tooltip\">MACKEY, Nathaniel, <em>Cante moro<\/em>, in <em>Paracritical Hinge: Essays, Talks, Notes, Interviews<\/em>, University of Wisconsin Press, Madison, 2005.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_9').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_9', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p>The powers of the <em>duende <\/em>lie in how it makes <em>something<\/em> difficult to define emerge from the deep.<\/p>\n<p>The <em>duende<\/em> translates literally as a <em>spirit<\/em>, and in that sense it connects with many traditions of animism. The body becomes a medium that channels the spirit that <em>duende <\/em>is. Michel Serres calls for recovering a sense of worship of nature in order to set his proposal of the <em>natural contract<\/em>: <em>Modernity neglects, speaking in absolute terms. It cannot and will not think or act toward the global, whether temporal or spatial. Through exclusively social contracts, we have abandoned the bond that connects us to the world, the one that binds the time passing and flowing to the weather outside, the bond that relates the social sciences to the sciences of the universe, history to geography, law to nature, politics to physics, the bond that allows our language to communicate with mute, passive, obscure things things that, because of our excesses, are recovering voice, presence, activity, light<\/em><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_10');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_10');\" ><sup id=\"footnote_plugin_tooltip_61006_1_10\" class=\"footnote_plugin_tooltip_text\">[10]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_10\" class=\"footnote_tooltip\">SERRES, Michel,\u00a0 <em>The Natural Contract<\/em>, The University of Michigan Press, Michigan, 1995.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_10').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_10', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><em>. We can no longer neglect this bond<\/em>. Is it perhaps possible to find in the <em>duende<\/em> what brings the force of the trauma from the deep and connected with the dispossession of the environment?<\/p>\n<p><em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em>4.- Vibration<\/p>\n<p>In which way can we articulate the proposal of Serres <em>no longer <\/em>[to]<em> neglect this bond<\/em>? The regime of visuality we are subjected to seems to be at the core of the modern project, but there is no space here to elaborate on it.<\/p>\n<p>Again, Iv\u00e1n Peri\u00e1\u00f1ez Bola\u00f1o: <em>It is the ear, above all, which connects the expressions with the memory (experiences and experiences). To know how to listen, to know how to feel, to say the cante, to listen to the cante, are relevant expressions and aspects of the epistemologies of flamenco feeling, of the knowledge and vernacular musical expressions that compose it<\/em><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_11');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_11');\" ><sup id=\"footnote_plugin_tooltip_61006_1_11\" class=\"footnote_plugin_tooltip_text\">[11]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_11\" class=\"footnote_tooltip\">Op. Cit.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_11').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_11', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><em>. <\/em>With Halim El-Dabh, we can understand that <em>the very essence is vibration. Vibration is the reality of our being. We are all vibrations. (\u2026) The reality is we are all one<\/em><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_12');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_12');\" ><sup id=\"footnote_plugin_tooltip_61006_1_12\" class=\"footnote_plugin_tooltip_text\">[12]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_12\" class=\"footnote_tooltip\">EL-DABH, Halim, in <em>Symphony for 1000 Drums \u2013 Intro<\/em>. <a href=\"https:\/\/www.youtube.com\/watch?v=62v-iu312Ro\" target=\"_blank\" rel=\"noopener\">Interview with Halim El-Dabh by Grant Marquit<\/a>.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_12').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_12', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Some of the ideas of El-Dabh point to strategies of connecting the micro and the macro, finding the tone of continuity between heart beat and the sound of the spheres, in processes of healing and communion with the world. The work of Halim El-Dabh facilitates a recovery of that lost connection with the world, and although it comes from the sonic, his position called for an activation of all the senses to get involved in an understanding of what the world tells us.<\/p>\n<p><em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em>5.-Rights in ruins<\/p>\n<p>The deadline of this text is October 7<sup>th<\/sup>, 2024. I cannot help but connect it to the genocide in Palestine. The credibility of the whole infrastructure of international law is about to collapse. Who would trust the capacities of decision making of a system that can do nothing about the genocidal activities of Israel since October 7th? This date marks a dark turn, both in human history, but also in the setting of ecocides. Let\u2019s make no mistake: that date is a mark because of the media-openness in the brutality, as seen by everyone who has a screen at hand. But that process has been in the making since decades in the case of Palestine. Understanding all the particularities, we must connect to the other on-going conflicts in Myanmar, Haiti, Congo, Sudan, and Ukraine, just to name a few. Ecocide is happening in all of them, alongside the violence between humans. What are the sensors and devices we need to stop all these brutalities?<\/p>\n<p>The director of the Palestinian Center for Human Rights and the coordinator of Palestine&#8217;s legal team representing victims at the International Criminal Court, Raji Sourani, has stated that <em>if Gaza is the graveyard of international law, should we give up or keep fighting by banging our heads against the wall? We will keep fighting because we cannot contribute to the law of the jungle. In the law of the jungle, they will win. As human rights activists, we are romantic revolutionaries. International law and human rights is the cr\u00e8me de la cr\u00e8me of humanity and we want to use it<\/em><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_13');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_13');\" ><sup id=\"footnote_plugin_tooltip_61006_1_13\" class=\"footnote_plugin_tooltip_text\">[13]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_13\" class=\"footnote_tooltip\"><a href=\"https:\/\/www.eldiario.es\/internacional\/raji-sourani-bombas-gaza-sentar-israel-justicia-palestinos-sangre-barata-mundo_128_11706407.html\" target=\"_blank\" rel=\"noopener\">BIOSCA AZCOITI, Javier, <em>Raji Sourani, de las bombas en Gaza a sentar a Israel ante la Justicia: \u201cLos palestinos somos sangre barata para el mundo.\u201d<\/em><\/a><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_13').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_13', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><em>.<\/em><\/p>\n<p><em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em>6.- Rights of Nature<\/p>\n<p>International law must be repaired and improved, and together with it, the rights of nature should mark the tone effectively as part of the new legal paradigm we need to fight for. Here is Teresa Vicente introducing the question of the voice of nature in relation to law: <em>the implementation of the governance system (Article 3 of the Law, implemented in the Royal Decree of partial development of the Law) and the claim of the rights of the lagoon ecosystem <\/em>[Mar Menor]<em> raise a series of objections, reservations and criticisms in legal dogmatics and in the legal academic field<\/em>. <em>Among them, the assumption that Nature, and in particular natural entities or ecosystems, have a &#8220;voice&#8221; to make their claims heard; how to &#8220;make those subjects to whom the law recognises rights speak&#8221;; who will speak on their behalf; what place should be given to indigenous peoples&#8217; traditional knowledge about the ecosystems they inhabit and to non-indigenous scientific knowledge; how natural and social sciences can be reconciled; how knowledge can be used to inform and inform legal decisions; how these decisions can be translated<\/em><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_14');\" onkeypress=\"footnote_moveToReference_61006_1('footnote_plugin_reference_61006_1_14');\" ><sup id=\"footnote_plugin_tooltip_61006_1_14\" class=\"footnote_plugin_tooltip_text\">[14]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61006_1_14\" class=\"footnote_tooltip\">VICENTE GIM\u00c9NEZ, Teresa, <em>Justicia ecol\u00f3gica y derechos de la naturaleza<\/em>, Tirant humanidades, Valencia, 2023.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61006_1_14').tooltip({ tip: '#footnote_plugin_tooltip_text_61006_1_14', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><em>.<\/em> The rights of nature also bring into the picture the question of participation in politics. Beyond the granting of rights, one of the fundamental concerns is: How can a system of co-governance with non-human beings be established?<\/p>\n<p><em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em>7.- Environmelisma<\/p>\n<p>The combination of environment and melisma offers a space to <em>sense<\/em> what nature tells. Another touching moment of the filming in Mar Menor occurred with Paco \u201cEstrujao\u201d, a fisherman, who offered one of the most poetic contributions to the film, describing how he can feel what the Mar Menor has to say if one pays enough attention, describing the moods of the salty lagoon based on atmospheric phenomena. Water communicates, and humans can understand it. One of the questions with which I began many of my interviews was how my interlocutors would describe the voice of that particular environment, which, in most of the cases, they related to a human voice. But how can one describe the voice of <em>environments<\/em>, who communicate without words, and even sometimes even without audible sound ?<\/p>\n<p><a href=\"#_ftnref14\" name=\"_ftn14\"><\/a><\/p>\n<p>(Featured image: Film still \u201cAquel Verano del 22\u201d, Lorenzo Sandoval. Research 2018 &#8211; present. Film in editing process)<\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_61006_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_61006_1();\">[<a id=\"footnote_reference_container_collapse_button_61006_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_61006_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_1');\"><a id=\"footnote_plugin_reference_61006_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">The working title of the film is \u201cAquel verano del 22\u201d. The sound is made in collaboration with Pedro Andr\u00e9; the script was written together with Dami Edwards, in dialogue with Zineb Achoubie, who also plays a fictional role on it. The producer is Lucia Sapelli.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_2');\"><a id=\"footnote_plugin_reference_61006_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\"><em>In 1835, John Sterling, complained to Carlyle about \u2018environment\u2019 as one of several Carlylean neologisms, and he noticeably objected to the barbarity of these new terms as \u2018words, so far as I know, without any authority\u2019.<\/em> (\u2026)<em>The noun \u2018environment\u2019 has its etymological roots in the Old French \u2018environ\u2019 and \u2018environer\u2019 (referring to such terms as \u2018circuit\u2019, \u2018surround\u2019, \u2018enclose\u2019, and \u2018circumstances\u2019). The Oxford English Dictionary gives 1603 as the date of the first usage of \u2018environment\u2019. This first sense of the term is the action or state of being environed or surrounded, encircled or even beleaguered. However, the second and now much more prevalent sense provided by the OED, referring to that which environs\/ surrounds and especially \u2018the conditions or influences under which any person or thing lives or is developed\u2019. <\/em><a href=\"https:\/\/compass.onlinelibrary.wiley.com\/doi\/10.1111\/j.1741-4113.2012.00922.x\" target=\"_blank\" rel=\"noopener\">JESSOP, Ralph, <em>Coinage of the Term Environment: A Word Without Authority and Carlyle\u2019s Displacement of the Mechanical Metaphor<\/em><\/a>.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_3');\"><a id=\"footnote_plugin_reference_61006_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\"><em>Strong trembling sounds, melisma (changing the note of a syllable while it is being sung), wavy intonations, elongated notes, long pauses between sentences, glissandos, and a certain nasality are characteristic features of reciting and singing in the Islamic world.<\/em> (\u2026) <em>In the 1950s, Ralph Ellison, while writing about flamenco\u2014another Islamic-influenced music\u2014remarked that the \u201cblues voice mocks the despair stated explicitly in the lyric, and it expresses the great human joke directed against the universe, that joke which is the secret of all folklore and myth: that though we be dismembered daily we shall always rise up again.\u201d<\/em> <a href=\"https:\/\/renovatio.zaytuna.edu\/article\/what-islam-gave-the-blues\" target=\"_blank\" rel=\"noopener\">DIOUF, Sylviane A. <em>What Islam Gave the Blues<\/em>, Renovatio. The Journal of Zaytuna College, 2019.<\/a><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_4');\"><a id=\"footnote_plugin_reference_61006_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\"><em>The highly ornamented, melismatic chant which may be called &#8220;long&#8221; for lack of more exact terminology, and which the ancient Arab chroniclers called &#8220;heavy&#8221; (thaq\u012bl): in general, it embraces a range of an octave and may even go beyond that. The rhythm is free and of a declamatory type. The element of improvisation is especially important in the ornamentation, which remains nevertheless within a traditional melodic framework and style, a heritage passed down orally. This ornamentation includes, naturally, all the classical procedures, some of which turn up again, though in a more stereotyped manner, in the ancient Occidental musics. <\/em><a href=\"https:\/\/www.jstor.org\/stable\/43562542\" target=\"_blank\" rel=\"noopener\">JARGY, Simon, <em>The Folk Music of Syria and Lebanon<\/em>, in <em>The World of Music, Vol. 20, No. 1, the arab world<\/em>, <em>\u00a0<\/em>1978<\/a>.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_5');\"><a id=\"footnote_plugin_reference_61006_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\"><em>It is known that in general Africans sing one note per syllable. Occasionally, however, melisma occurs, but generally on exclamations or nonsense syllables. These also provide opportunities for the music to move upward: the single vowel exclamation or nonsense syllable has no set tonal pattern and may be spoken in prolonged version to varying tones depending on the mood of the speaker. This is reflected in music, both melodically and harmonically. As there is no meaning to preserve, they may be intoned in any way necessary to achieve a desired musical effect<\/em>. <a href=\"https:\/\/www.jstor.org\/stable\/2783621?read-now=1&amp;seq=30#page_scan_tab_contents\" target=\"_blank\" rel=\"noopener\">EKWUEME E.N., Laz<em>, Concepts of African Musical Theory<\/em>, in <em>Journal of Black Studies, Vol. 5, No. 1<\/em> (Sep., 1974)<\/a><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_6');\"><a id=\"footnote_plugin_reference_61006_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\"><em>The type of pentatonic singing (with much employment of melisma) which we are finding today in musical genres such as \u1e63akara, \u00e0p\u00e0l\u00e0, etc. is based on Islamic-Arabic traits that were filtering into Yorubaland via the Hausa culture area in the north.<\/em> KUBIK, Gerhard, <em>Theory of African Music Vol. II<\/em>, The University of Chicago Press, Chicago, 2010. Thanks to Bonaventure Ndikung for this reference.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_7');\"><a id=\"footnote_plugin_reference_61006_1_7\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>7<\/a><\/th> <td class=\"footnote_plugin_text\">MAALOUF, Shireen, <em>History of Arabic Music Theory: Change and Continuity in the Tone Systems, Genres, and Scales<\/em>. Kaslik, Universit\u00e9 Saint-Esprit, Lebanon, 2002.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_8');\"><a id=\"footnote_plugin_reference_61006_1_8\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>8<\/a><\/th> <td class=\"footnote_plugin_text\"><a href=\"https:\/\/www.honest-broker.com\/p\/the-most-important-city-in-the-history\" target=\"_blank\" rel=\"noopener\">GIOA, Ted, <\/a><em><a href=\"https:\/\/www.honest-broker.com\/p\/the-most-important-city-in-the-history\" target=\"_blank\" rel=\"noopener\">The Most Important City in the History of Music Isn&#8217;t What You Think<\/a>. We can learn from the C\u00f3rdoba Miracle\u2014and not just about music. <\/em>Something also to remark from this article: <em>There\u2019s even a word for this kind of cultural blossoming: Convivencia. It translates literally as \u201clive together.\u201d You don\u2019t hear this term very often, but you should\u2014because we need a dose of it now more than ever.<\/em><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_9');\"><a id=\"footnote_plugin_reference_61006_1_9\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>9<\/a><\/th> <td class=\"footnote_plugin_text\">MACKEY, Nathaniel, <em>Cante moro<\/em>, in <em>Paracritical Hinge: Essays, Talks, Notes, Interviews<\/em>, University of Wisconsin Press, Madison, 2005.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_10');\"><a id=\"footnote_plugin_reference_61006_1_10\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>10<\/a><\/th> <td class=\"footnote_plugin_text\">SERRES, Michel,\u00a0 <em>The Natural Contract<\/em>, The University of Michigan Press, Michigan, 1995.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_11');\"><a id=\"footnote_plugin_reference_61006_1_11\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>11<\/a><\/th> <td class=\"footnote_plugin_text\">Op. Cit.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_12');\"><a id=\"footnote_plugin_reference_61006_1_12\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>12<\/a><\/th> <td class=\"footnote_plugin_text\">EL-DABH, Halim, in <em>Symphony for 1000 Drums \u2013 Intro<\/em>. <a href=\"https:\/\/www.youtube.com\/watch?v=62v-iu312Ro\" target=\"_blank\" rel=\"noopener\">Interview with Halim El-Dabh by Grant Marquit<\/a>.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_13');\"><a id=\"footnote_plugin_reference_61006_1_13\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>13<\/a><\/th> <td class=\"footnote_plugin_text\"><a href=\"https:\/\/www.eldiario.es\/internacional\/raji-sourani-bombas-gaza-sentar-israel-justicia-palestinos-sangre-barata-mundo_128_11706407.html\" target=\"_blank\" rel=\"noopener\">BIOSCA AZCOITI, Javier, <em>Raji Sourani, de las bombas en Gaza a sentar a Israel ante la Justicia: \u201cLos palestinos somos sangre barata para el mundo.\u201d<\/em><\/a><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_61006_1('footnote_plugin_tooltip_61006_1_14');\"><a id=\"footnote_plugin_reference_61006_1_14\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>14<\/a><\/th> <td class=\"footnote_plugin_text\">VICENTE GIM\u00c9NEZ, Teresa, <em>Justicia ecol\u00f3gica y derechos de la naturaleza<\/em>, Tirant humanidades, Valencia, 2023.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_61006_1() { jQuery('#footnote_references_container_61006_1').show(); jQuery('#footnote_reference_container_collapse_button_61006_1').text('\u2212'); } function footnote_collapse_reference_container_61006_1() { jQuery('#footnote_references_container_61006_1').hide(); jQuery('#footnote_reference_container_collapse_button_61006_1').text('+'); } function footnote_expand_collapse_reference_container_61006_1() { if (jQuery('#footnote_references_container_61006_1').is(':hidden')) { footnote_expand_reference_container_61006_1(); } else { footnote_collapse_reference_container_61006_1(); } } function footnote_moveToReference_61006_1(p_str_TargetID) { footnote_expand_reference_container_61006_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_61006_1(p_str_TargetID) { footnote_expand_reference_container_61006_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>Over the last years, we have been working on a research and film project about the relationships between three interwoven extractivist processes in Murcia, in the southeast area of the&#8230;<\/p>\n","protected":false},"author":2615,"featured_media":61014,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6980],"tags":[],"coauthors":[6568],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Environmelisma de Lorenzo Sandoval<\/title>\n<meta name=\"description\" content=\"Environmelisma by Lorenzo Sandoval. 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