Water: Scientific and Somatic Approaches to Environmental Sentience

This 40-page written dance thesis explores water as a sentient being through somatic and scientific frameworks, revealing how water’s inherent movement patterns – from molecular bonding to ocean currents – suggest consciousness and agency. By examining water’s scientific properties alongside spiritual, religious, cultural, and artistic relationships to water, I argue that approaching water as a conscious dancer opens new possibilities for understanding sentience. Exploring embodied, reciprocal relationships with water deepens environmental and scientific inquiries.

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Technological Innovation and Multidisciplinary Approaches in Venetian Archaeology

The rising tides of Venice’s acqua alta represent more than just flooding – they reveal the constant dialogue between the city’s past and present, between preservation and transformation. As a choreographer and anthropologist, I explored these themes in my multimedia performance “Acqua Alta,” investigating how water shapes not only Venice’s archaeological and artistic heritage but also its living cultural identity through movement, opera, narrative, and multimedia architectural adaptation.

 This paper analyzes three archaeological studies that demonstrate different approaches to understanding Venice’s complex built heritage. The articles examine remote sensing techniques for uncovering lost lagoon settlements, forensic investigation of burial practices, and innovative methods for preserving historic buildings against climate change effects. Together, they reveal how interdisciplinary approaches are essential for both understanding Venice’s past and protecting its future.

Article 1: How to Find Lost Lagoon Settlements

Remote sensing applications and archaeological research in the Northern Lagoon of Venice: the case of the lost settlement of Constanciacus, is an article that explicates the process of using remote sensing to “…shed new light on early patterns of occupation in the Northern Venetian Lagoon; to explore the communication network between the mainland and the sea; and to examine the evolution of settlements along the commercial routes of the Lagoon through time” (2040). The article more specifically delves into the various remote sensing (RS) methods, including aerial photographs, High Resolution (HR) satellite images, and subsequent data enhancement and processing techniques used to “emphasize the presence of anomalies of the terrain and vegetation that can be related to archaeological structures,” specifically in emphasizing features relevant to the archaeological past of the islands (2040, 2045). 

Thus, the article’s main focus is to explain which RS methods are used, focusing on HR satellite images from Ikonos and Quickbird satellites. To enhance the available RS data, different techniques (with various success rates and further applications) were used and explained, including methods such as pan-sharpening, data fusion, Vegetation Indices (VIs), and Principal Component Analysis (PCA) (2046-2048). Then, the article discusses how the remote sensing data was processed and evaluated alongside GIS (geographic information systems) and archival documents, towards the project’s goal of uncovering the archaeological past of the islands. 

The project explores Constanciacus, a small group of islands in the Northern Venetian lagoons, where presently only two emerged strips remain, the abandoned islands of Sant’Ariano and La Cura. The area has an ancient history spanning the medieval period, towards an eventual abandonment of the site due to fluctuating water levels creating erosion and gradual sinking (2042). Further, the RS data reveals remnants from an unpublished, unsystematic excavation done in the 1970s (2043). Since then, the site has been completely abandoned (2042). The article also discusses an excavation of the monastery of Sant’Ariano in 2009 – which was discovered via a field-walking survey, and in archival documents is said to have been built around 1160, and abandoned in the 16th century due to rising water levels (2044). Within the site, there are three main environmental contexts, which necessitate different processes to enhance RS data for effective analysis, including “… (i) the areas that are currently emerged in a stable way (which constitute the largest part of the case study islands); (ii) the areas that are temporarily emerged and that are subjected to flooding dependent on the state of the tide or the seasonal changes; and (iii) the shallow lagoon areas surrounding the islands.” (2045). 

The primary data discussed in this article includes a wide variety of enhancement and processing techniques that emphasize archaeological features in RS data from HR satellite imagery. The satellites Ikonos and Quickbird provide both panchromatic and multispectral images (panchromatic images have a higher spatial resolution and lower spectral resolution, whereas multispectral images have higher spectral resolution and lower spatial resolution). This data is first processed with a wide variety of procedures, including pan-sharpening, data fusion, vegetation indices, and Principal Component Analysis (PCA), to make underground or underwater features more distinguishable (2046-2048). Then, the data is analyzed through photo-interpretation in context with GIS and archival documents. 

When it comes to interpreting the collected data, the article emphasizes the necessity to be cautious when using photo-interpretation techniques in a lagoon environment, because environmental factors like salinity, tidewater transgression, and humidity in the soil can create patterns of varied vegetation growth that resemble those sometimes created by underground archaeological features (2045). So, while the potential benefits of using RS are that the islands are abandoned and have almost no elevated structures, photo-interpreters must be familiar with how the environment may influence data outcomes, and the processing methods used to circumvent these issues, to make the most educated analysis of the data (2045). 

Contemporary archaeological researchers are likely the audience of this article, who may glean helpful information they can apply to their own projects. This project is relevant to present-day archaeological innovations because Project Constanciacus aims to create an archaeological and natural protected area in collaboration with local and regional institutions that will be open to the public (2042). Thus, it is especially important to glean helpful information from RS methods because they are non-invasive, which will not harm the protected flora and fauna. This article provides an example of a contemporary approach to an archaeological project that aims to be minimally invasive – setting an example of how new tools such as RS and GIS methods can make archaeological projects have more ethical impacts and outcomes.

 This article may be particularly helpful to archaeologists and interdisciplinary scientists who work with RS in unique environments since the main focus of the article is to discuss how various processing methods have been more or less effective when applied to RS data. The diverse macro environments of the site each present unique challenges to accurately analyzing RS data – meaning that the data processing techniques discussed here could be a helpful tool for other archaeologists faced with sites with similar environmental contexts Further, the article discusses the preliminary benefits, challenges, and analysis results of using GIS methods and RS data to contextualize data from other sources, “…including literature datasets, archive data and historical cartography” (2048). As both RS and GIS methods are interdisciplinary archaeological approaches,  innovating constantly to improve analysis potential, this article can help guide other excavations since it provides a thorough preliminary sampling of the various effectiveness of these methods in different contexts. 

The scope of this article in discussing RS processing methods is largely based on the caveats, uncertainties, and limitations faced by using RS methods in specific environments. Each processing method also has limitations that render it beneficial only in certain instances. In general, pan-sharpening (most successfully using the Gram-Schmidt method) is demonstrated (both by the text and visuals in the article) to improve the visibility of underground features. Ikonos multispectral bands used to assess overall vegetation quality and change were enhanced using various Vegetation Indices (VIs) depending on the vegetation coverage type and density. Principal Component Analysis (PCA) is also explained and employed to supplement available information regarding surface distinctions.

As for the future of Project Constanciacus, the article states that the current RS data is still being evaluated, and more RS data is being acquired – meaning the data and evaluations offered in the conclusion section are still preliminary (2046, 2049). Once the collection and assessment are complete, “…it will be possible to compare the trace visibility as detected through single original data, and visibility after processing, to be able to evaluate techniques and data types useful in this particular environment.” However, at this point in the research process, only individual estimates of the effectiveness of various data collection and processing techniques are offered (2049). Primarily, this article serves as an early report of which RS methods have been most helpful in diverse environmental contexts. More widely, the article shows the potential of remote sensing and interpretation methods, including using GIS methods to co-contextualize RS data with other available data, towards painting a picture of the archaeological past – primarily large features – in a site with varied environmental contexts and an ancient history (2049, 2048).

Article 2: Forensic Science, Ancient Disease, and Folklore

Forensic Approach to an Archaeological Casework of ‘‘Vampire’’ Skeletal Remains in Venice: Odontological and Anthropological Prospectus is part of a research project on mass graves located on Nuovo Lazzaretto in Venice, which was home to plague cemeteries, where the bodies of plague victims (believed to be victims of pestilence, or particularly fatal diseases, often referring to the bubonic plague) were buried, during the 16th and 17th centuries (1634). This article dives into the details of one specific corpse, known as ID 6, who was found with a brick in her oral cavity. The research question at hand hopes to use the examination of these skeletal remains to shed light on reasons for a vampire folk belief, and how such a belief may impact burial rites. The content of the article addresses how an interdisciplinary approach to interpreting her remains can offer a more holistic analysis. 

More specifically, the site of this burial was found to have two macro-stratigraphic units, one containing “…mixed disjointed skeletal remains with ancient postmortem fragmentation and sharp/blunt breaks; the other unit contained human remains of primary deposition, generally showing no post-burial disturbance.” The intact bodies are dated to the 17th-century plague by devotional medals coined on the 1600 Jubilee found within the layer. It is supposed that these corpses were buried by digging into the previous graves (of presently disjointed skeletal remains), perhaps dating back to the previous Venetian plague in 1576 (1635). Within these two stratigraphic units, the body which this article goes into detail about is speculated to be initially laid to rest in the earlier of the two burial periods. The skeleton is “…preserved from half the chest to the skull because it was cut at the humeral diaphysis when later graves were dug (1635).

While traditional archaeological theory was used to analyze the gravesite, anthropological (study of humans) as well as odontological (dentistry) theories and techniques were used, in an interdisciplinary approach, in this documentation and analysis. In all, this article stands as a testament to the wealth of information that can be gleaned using multiple different applied disciplines, particularly disciplines that can be found within the forensic sciences in this case. The archaeological theory used throughout this article begins primarily with taphonomy (the study of how organisms decay) and thanatology (the interdisciplinary, scientific study of death and the losses it brings about, on biological, psychological, and social levels) used at the site of excavation. Through these approaches, researchers deduced that the bones could not have been transferred postmortem (after death) and that the brick was highly unlikely to have collapsed into her oral cavity. Thus, the subsequent question becomes why this brick was intentionally placed, especially considering the danger of infection the sextons faced in handling a plague-stricken corpse (1635).  Furthermore, taphonomy and folkloric studies are used in tandem to discuss potentials as to why her corpse may have been considered vampiric: the shrinking of the skin upon death creates the illusion of growing hair and fingernails. Further archaeological evidence, such as the positioning of her shroud, supports the narrative that the gravediggers placed the brick into her mouth postmortem. Folkloric studies also rule out the potential that the brick was placed into her mouth at the time of primary deposition since there is no reference for such a rite in this historical and cultural context (1637).

Other theories that provide the bulk of evidence used to support analysis include odontology, which reveals that the age of the corpse is around 61, plus or minus five years. Odontology also reveals that the individuals in the grave didn’t suffer from sustained malnutrition or disease in childhood. These demographic factors are used alongside archaeological interpretation to explore the cultural and place-based context of the evidence, and the implications of such burial rites being performed specifically in Venice, to plague corpses.

The research explained in this article relates to contemporary archaeology in a few primary ways. Firstly, the article uses images to contextualize the information discussed in the text portions. Many of these images use standard archaeology techniques, such as offering top view and lateral views of the skull with the brick repositioned in the oral cavity. The brick is also depicted in a standalone image next to a ruler for scale – which is especially important in this case as the asymmetrical nature of the brick cannot be seen in the other two images. These same principles are used in the odontology section of the article, with a supplemental image showing how the X-ray image of the teeth was taken for age estimation, as well as the X-ray image itself. The depiction of the X-ray method reveals that while this article focuses a lot on odontology, the anticipated audience of this article may be more familiar with the archaeological or anthropological methods discussed than the odontological. The interdisciplinary approach used to interpret the corpse is itself a prevalent contemporary archaeological concept. The specific paradigm of interdisciplinary approaches allows the remains to be understood from different angles, with different ways of knowing adding pieces to the larger picture, allowing for a more holistic interpretation. The specific blend of disciplines used to understand these unique skeletal remains sets an example of how to glean various types of information from a site, and how all of this information can add up in analysis.

The article also engages in contemporary archaeological practice by articulating the discussion of gender in archaeology, particularly in speculating the gender of skeletal remains. In the abstract, the article explains that “Both the skull morphology and the dimensions of the caput omeris suggest the body was a woman.” Later in the article, a bit more detail is provided as to the stage of analysis, stating “The individual… currently still under analysis, is at the moment identified as an adult woman by the general skull morphology and caput humeris size” (1635). This article does a good job of conforming to contemporary standard practice of being speculative instead of assumptive, as archaeological techniques for gendering skeletons are limited in scope. Further, the article announces that the individual is still under analysis, so these results are subject to change. 

There are uncertainties discussed in the article. The gender of the skeleton, the age of the skeleton upon death, and the reasons for such a unique burial, are all articulated to be speculative assumptions. The article also states that further analysis is still being conducted (1635). The conclusion offers an analysis that, while assumptive, links the story back to the pieces of evidence accumulated that support each aspect of the story (including the timeline of when gravediggers would have inserted the brick into her mouth in relation to the time of her death) (1637). In all, this article offers an understanding of how interdisciplinary forensic science approaches can help us understand vampiric folk beliefs and surrounding rituals, as evidenced by the human remains found at this site.

Article 3: Climate Change Effects Assessment Innovations

A Multidisciplinary Approach for the Vulnerability Assessment of a Venetian Historic Palace: High Water Phenomena and Climate Change Effects, is an article that illustrates the different methodologies implemented to improve the interpretative process of vulnerability assessment, of historic Venetian buildings that are susceptible to damage from climate change. Improved vulnerability assessments open the opportunity for possible restoration interventions. The system of methodologies outlined in this article, and the case study illustrate how all of these methods come together to form a comprehensive picture of building vulnerability, as the effects of climate change continue to progress and evolve (1). Thus, the research question at play is within the scope of how new policies surrounding the restoration and transformation of Venice can be more effectively enacted using the interdisciplinary approach the article discusses in detail (4). 

The region being discussed is Venice, with data spanning as far back as the mid-1800s being discussed in the article, as well as future predictions based on these longstanding data sets. The temporal focus remains on how present-day conservationists can use the outlined methods to assess the susceptibility of historic buildings to damage from climate change, towards the end of both restoration and transformation (4). The specific case study that the article uses as an example of how these methodologies interplay is the Palazzo Malipiero, a large building in Campo San Samuele in the sestiere of San Marco, facing the Grand Canal (9). 

The caveats and uncertainties are plenty when it comes to climate change-related research, as future predictions are never certain, and severe weather events could drastically impact current conservation efforts at any moment. Further, the issue of climate change is incredibly complex, particularly in a place with an intimate relationship to water, high amounts of tourism, and a plethora of historic buildings, as in the case of Venice (2).

The work discussed in this article is highly relevant to both present-day archaeology, and to public welfare more generally – as the effects of climate change continue to become more severe throughout the world. Efforts to combat climate change in Venice have particularly direct impacts on the quality of life of citizens, as aqua alta (high tides) becomes an increasingly frequent occurrence that destroys buildings, and makes daily living/transportation difficult. Alongside these seasonal issues, climate change also increases extreme weather effects, which can unexpectedly cause heavy damage to historic sites. The Venetian economy is reliant on tourism, while overpopulation can devastate the city at the same time, creating a unique paradox that triangulates the effects of climate change. Due to the unique climate-change-related issues Venice faces, some interdisciplinary archaeological techniques discussed in this article are more relevant to Venice specifically, while others (including the more broad policies enacted in Italy, which these methods help fulfill) subsequently set a great example for other areas to address the climate-induced material damage. For example, building preservation faces unique issues of combatting wet-dry cycles and rapid salt crystallization due to evaporation, which is unique to the lagoon system of Venice (3). However, innovative and efficient approaches to building vulnerability assessment, using local customs, materials, knowledge, and history, alongside quantitative assessment, set a great example for how other communities with historic buildings may craft their uniquely helpful multi-disciplinary approaches to conservation.

This article brings a particular focus to archaeological theory. In particular, Venice calls for a unique approach to conservation that has resulted in new policies based on “…heritage resilience combining preservation with transformation” (4). The research in this article is in line with policies within Piano Nazionale di adattamento ai Cambiamenti Climatici (National Plan of Adaptation to Climate Change), which contend with ideas of “safe conservation” with both natural disasters (which can cause sudden and severe building destruction), and climate change, and call for a unique assessment of vulnerability (4). Two main concerns are storms and tides. Recently, low-intensity rainfall has been decreasing while intense storm events have been increasing, and high tide frequency has been increasing as well (5). 

To combat these specific climate effects,  the multi-disciplinary approach specifically cultivated for addressing Venetian climate change focuses on a close examination of ground-floor building conditions concerning their elevation above mean sea level, also considering historical transformations (7). Historical Analysis (HA) references historical data to plan artifact surveys, which take into consideration prior amendments to buildings (for example, cadenas, or tightly lined brick underneath buildings up until the mean sea level at the time of construction, are often exceeded, and thus buildings have been adjusted to accommodate higher daily tide levels) (7). HA also considers data already collected on how specific materials used in historic buildings are impacted by the specific climate and weather conditions of Venice, as a coastal place. 

Another methodology used in this article is the Geometrical Survey (GS), which helps track the spatial layout of Venice concerning tidal destruction. Stratigraphic analysis (SA) applies the principles of stratigraphy to buildings as a survey technique using the Masonry Technique Form – which is a visual investigation of the mechanical characteristics of building material (8). Material-Constructive Survey (MCS) is used to identify materials used at the time of construction and how they transform throughout time. Lastly, Crack Pattern and Degradation Analysis (CPDA) follows building degradation (8). In conversation with one another, these tools can help highlight inefficient construction or human intervention, towards overall vulnerability assessments. These methods include both qualitative and quantitative measurements, that help create a wider standard for conservation procedures in Venice specifically (8).

This article references outside research on Venice and climate change quite frequently, as well as data on climate change more generally (using data from the IPCC, for example). This is helpful both to contextualize the theory and methods offered within the article and to paint a broader picture of the current discourse and action. More specifically, this article often uses data documenting weather and climate patterns, which span far back into Venice’s history, to offer predictions for future climate change effects (5).

The article also dives into a specific case study to portray the effectiveness and procedures of the interdisciplinary approaches outlined in the procedure for Venetian building conservation. The data that was collected through the various methods of conservation analysis are thoroughly explicated, using visuals both of the case study itself and of infographics that can be applied (both indirectly and by literally overlapping photographs) to other historic Venetian buildings (16, 17). Other data sets are available to contextualize the analysis of the data collected on Palazzo Malipiero, the case study building, such as architectural elements mapping, and figures that detail future predictions (13, 21). 

The scope of the article offers fewer interpretations of the data at hand and focuses instead on how these specific methods can be used in replicable ways. The discussions and conclusions section of the article emphasizes that all of these methods effectively improve the interpretative model towards a more uniform mode of vulnerability assessment (22). 

In all, this article offers methods that are discussed in a way that is meant to be helpful for future researchers and conservationists, as well as present ones. It is expected that these methods both operate as a new standard and have room to innovate, as the scope of multi-disciplinary approaches often offers. The policies and methods are also specifically in conversation with MOSE – the in-ocean collapsible dam system which creates a barrier protecting Venice when tides reach high enough levels. This project was only recently enacted in 2020, even though it was proposed in 1987 and has been in progress since 2003 (3). Thus, the methods offered are especially effective in setting a precedent on how to measure any potential improvements, or minimizations of climate change-related building destruction, resulting from MOSE. Simultaneously, the multidisciplinary approach offered engages with the documented and structural history of Venice and contends with its future, creating one piece of a comprehensive plan to protect this UNESCO World Heritage site, located in a coastal area (2). 

Conclusion:

The three studies demonstrate how Venice’s unique environmental challenges require innovative archaeological approaches. Remote sensing technology, forensic analysis, and architectural preservation techniques each offer distinct yet complementary methods for understanding the city’s heritage. As climate change threatens Venice’s historic sites, these interdisciplinary approaches provide crucial tools for both documenting the past and protecting it, setting a model for heritage preservation in vulnerable coastal sites worldwide.

Works Discussed: Citation

Berto, L.; Talledo, D.A.; Bruschi, G.; Zamboni, I.; Lazzarini, E.; Zofrea, C.; Faccio, P.; Saetta, A. A Multidisciplinary Approach for the Vulnerability Assessment of a Venetian Historic Palace: High Water Phenomena and Climate Change Effects. Buildings 2022, 12, 431. https://doi.org/10.3390/ buildings12040431

Nuzzolese, Emilio, and Matteo Borrini. “Forensic Approach to an Archaeological Casework of “Vampire” Skeletal Remains in Venice: Odontological and Anthropological Prospectus*.” Journal of Forensic Sciences, vol. 55, no. 6, 12 Aug. 2010, pp. 1634–1637, https://doi.org/10.1111/j.1556-4029.2010.01525.x. Accessed 12 Nov. 2019.

Traviglia, A., and D. Cottica. “Remote Sensing Applications and Archaeological Research in the Northern Lagoon of Venice: The Case of the Lost Settlement of Constanciacus.” Journal of Archaeological Science, vol. 38, no. 9, Sept. 2011, pp. 2040–2050, https://doi.org/10.1016/j.jas.2010.10.024. Accessed 9 May 2023.

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Student Artist in Residence 2023-2024: Overview of Major Works

Overview of Major Works Created while a Student Artist in Residence at Barnard College in NYC 2023-2024

Hello, my name is Lily Selthofner, and I graduated in May 2024 from Columbia University. I was a 2023-2024 Student Artist in Residence at the Movement Lab at Barnard College — these are summaries of the major works I created as a SAR.

Movement Lab website: https://movement.barnard.edu/about

Thanks so much for your time watching and support.

To learn more about any of the featured projects, visit these links below:

Ultimate Catharsis 1

Acqua Alta

Essence

To learn more about my work and see other projects, visit https://lilyselthofner.com/

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Lido

Lido is a collection of short stories by Lily Selthofner.

Excerpts from Raphael and Giuseppe are featured in Acqua Alta

Acqua Alta – Show Video

Acqua Alta show program booklet

Images from the Show

Olga – Excerpt from Lido

Lido 

by Lily Selthofner

I wallow in toxic waves and long for unswimmable waters. Always just out of reach, out of control – born in fruitless, putrid, knowing worlds. Unruly seas steer my boat, overboarding passengers into stormy depths. Treasured mysteries lie on my floors, asleep in the canal beds. I watch from above as you sink into my muddy secrets and count on my fingers until your ascent– hoping you can hold your breath long enough. 

People meet eyes in different ways, exposing and obscuring. Ancestors creak the doors in our mind-homes, to peek between living blinks. We toss glances and smiles like dice onto the cobblestones of insignificance. 

I change landscapes by keeping divine self promises.  I leave trails of gold-thread infinity, wading with strangers in my waters through the seas which once drowned me. 

Four Seasons

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Four Seasons by Lily Selthofner, acrylic on canvas, 2′ x 5.5′
Summer by Lily Selthofner, acrylic on canvas, 16″x24,” 2023
Fall by Lily Selthofner, acrylic on canvas, 16″x24,” 2023
Winter by Lily Selthofner, acrylic on canvas, 16″x24,” 2023
Spring by Lily Selthofner, acrylic on canvas, 16″x24,” 2023

Venezia Scalzo Poetry [Italian with English Translations]

By Lily Selthofner

As featured in Venezia Scalzo Screendance

Poem 1:

Prima, c’era acqua.  

Lo spirito viscerale, il vuoto definitivo

Il sangue della madre

Accecante e assordante

il suo polso era il primo orologio

E piango al suo tempo, 

le mie lacrime gocciolano

dal suo grembo

superando le circostanze

First, there was water

The visceral ghost, the ultimate emptiness

The blood of the mother

blinding and deafening

her pulse was the first clock

and I cry to her time, 

my tears dripping from her womb

surpassing circumstance


Poem 2:

Mi chiama Violetto Scalzo

Le mie ossa sono pesci, fatti di punti interrogativi

mia gamba cede, mentre il mio cervello avanza

non so chi sono, da dove vengo, o perché sono qua, adesso.

le risposte risiedono nelle mie spalle curve e nel mio collo allungato, in bilico, 

tra la futilità cosmica e l’onda eterna del movimento immobile

my bones are fish, made of question marks 

my leg caves, as my mind walks onward

I don’t know who I am, where I came from, or why I am here, now.

The answers dwell in my hunched shoulders and craned neck, balanced,

between cosmic futility, and the eternal wave of still movement


Poem 3:

Violenza Scottatura

sono dolore. Sono a piedi nudi sulla sabbia calda, a prendere a pugni l’antico pavimento, erodendo la facciata dell’immortalità.

Sono connessa. Sono una piramide di guerrieri, il mio esercito di antenati marcia dietro di me.

Sono l’amore incondizionato. Sono la nonna pagana più potente, eoni fa.

Sono fiducia. Sono protezione. Io sono le porte che si aprono. Sono l’ombra nell’angolo della stanza.

Per troppo tempo ho avuto paura dei miei aiutanti, dei miei amanti incondizionati.

Ero un bambino, impreparato, cieco al mio stesso potere, reso vittima statua in mondi rigidi.

Parassiti ai miei muscoli, succhiando la mia carne morbida,

desiderando l’amore che ho impastato da vite di dolore.

I am pain. I am bare feet on hot sand, punching ancient pavement, eroding the facade of immortality.

I am connection. I am a pyramid of warriors, my army of ancestors marching behind me. 

I am unconditional love. I am my most powerful pagan grandmother, eons ago.

I am trust. I am protection. I am the doors that open. I am the shadow in the corner of the room.

For too long, I have been afraid of my helpers, my unconditional lovers.

I was a child, unready, blind to my own power, made a statue victim in rigid worlds. 

Parasites to my muscles, sucking my soft flesh, 

longing for the love I kneaded from lifetimes of pain.


Poem 4:

Mi chiama Vasta Serpente

Ho fame, tanta fame. Ho un buco nel cuore, che riempio di serpenti e draghi e pesci.

Un milione di anni fa, battevo il tamburo troppo forte, le mani mi facevano ancora male per aver fatto quel buco nel mio antico cuore. Mi fanno male le dita sui tamburi rotti, il polso spezzato soffocato dalla cenere, le dita che scavano nel buco, alla ricerca di risposte già sbriciolate, marce, dimenticate.

Ogni passo della mia ultima grande danza ci avvicina alla morte, mentre le ossa del mio punto interrogativo si spezzano sotto il peso delle lucertole, dei serpenti e dei pesci nel mio cuore.

I’m hungry, so hungry. I have a hole in my heart that I fill with snakes and dragons and fish.

One million years ago, I beat my drum too hard, my hands still hurt from punching that hole in my ancient heart. My fingers ache on broken drums, broken pulse smothered in ashes, fingers digging in the hole, searching for answers already crumbled, rotten, forgotten.

Every step of my last great dance marches us closer to death, as my question mark bones break under the weight of the snakes and fish in my heart.


Poem 5:

Mi chiama Vantaggia Sinistra

Io sono il serpente, il pesce, il drago dell’amore che vive nel mio cuore, nove dimensioni più piccole e più alte di te o di me.

Sono un serpente: spesso, lungo e viscido, con segreti dietro ogni scaglia.

Sono una vittima, un povero ragazzo di una cattiva famiglia. Questa volta, la mia spina dorsale è il punto interrogativo, la sofferenza viscidi di decadenza.

Sono un veterano, un assassino morente. Ho paura che ogni giorno sarà l’ultimo, quindi apro le mie gambe a serpenti, draghi e pesci, per trovare la mia cervice, strisciare nel mio grembo, scalare la mia spina dorsale e unirsi agli altri insetti nel mio cuore.

Sono il drago, che è connesso a tutti, più vicino del previsto, numerabile, grosso, lungo e viscido, che ha sentito che non c’è fine alla follia, che potrebbe non ricordare nulla, ma sa tutto.

Scivolo dentro me stesso, melma su melma, facendo l’amore incondizionato con me stesso, guardando tutta la merda e il sangue sulla terra, 

spingendo il serpente sempre più in profondità, finché il dolore e l’amore sono dello stesso colore, perché sono più grande, più piccolo, più alto , di tutto questo.

I am the serpent, the fish, the dragon of love who lives in my heart, nine dimensions smaller and higher than you or me. 

I am a serpent – thick, long, and slimy, with secrets behind every scale.

I am a victim, a poor boy from a bad family. This time, my spine is the question mark, suffering slimy with decay.

I am a veteran, a dying murderer. I am scared every day will be my last, so I open my legs, for serpents, dragons, and fish, to find my cervix, crawl into my womb, scale my spine, and join the other insects in my heart.

I am the dragon, who is connected to everyone, closer than expected, countable, thick, long, and slimy, who heard there is no end to the madness, who might remember nothing, but knows everything. 

I slide into myself, slime on slime, making unconditional love to myself, wading through all of the shit and blood on earth, pushing the snake deeper and deeper, until pain and love are the same color, because I am bigger, smaller, higher, than all of it. 


Poem 6:

Mi chiama Viscerale Sincronizzatore

Posso parlare con i morti. Li vedo negli angoli crepati di antichi edifici, vedo i loro bei volti rugosi nei miei sogni.

Cammino sulla linea sottile tra banale e universale, dove ai morti piace vivere. Cresco su quella linea, come i funghi.

Mi fido di creature inaffidabili perché so che mi rispettano, i loro occhi che guardano dal legno e dalla pietra che gettano un ponte su ogni acqua profonda. Tutti abbiamo conosciuto lo stesso profondo dolore e scegliamo ancora l’amore.

Mi abbraccio, e dalla cisterna della solitudine risorgono i morti.

I can speak to dead people. I see them in cracked corners of ancient buildings, I see their wrinkly, beautiful faces in my dreams.

I walk the thin line between mundane and universal, where dead people like to live. I grow on that line, like mushrooms.

I trust untrustable creatures because I know they respect me, their eyes watching from the wood and stone that bridges every deep water. We all have known the same deep pain, and still choose love.

I hug myself, and from the cistern of loneliness, the dead rise.


Poem 7:

Mi chiama Viottolo Supino

È stato un errore per me venire qui, incarnarmi su questa Terra. Sono debole, sono fondamentalmente una persona cattiva, non importa quanto mi sforzi di essere buono. Tutto ciò che faccio causa dolore a qualcun altro e mi ricorda che sono distrutto fino in fondo. Mi sento un alieno, un fantasma, un pesce fuor d’acqua. Mi sento come un bambino piccolo che non sa dove andare o cosa fare, come se avessi bisogno di qualcuno che mi tenesse per mano mentre giro ogni angolo. Mi sento piccolo e vulnerabile.

Ma nessuno sa come fare questo per me, e Dio ha gettato la mia anima su questa Terra, come una lenza da pesca, una piccola corda d’argento che mi attacca all’estremità di una lunga serie di dolori, quindi non ho mai imparato a essere pieno o a camminare solo, libero e disancorato. 

Dio ha fatto del tempo il mio problema, Dio mi ha detto di trovare un modo per essere la persona più grande, di sacrificare la mia interezza, nascondere il mio dolore, solo per essere incluso in qualche falsa società, per portare i problemi del mio lignaggio sulle mie piccole spalle, per essere attaccato dal dolore degli altri perché l’amore vero e ordinario da persone vere e ordinarie 

non sarà mai abbastanza per riempire il vuoto nella mia anima che è stato lì fin dal primo giorno solitario su questa Terra.

 A volte mi chiedo se il mio secchio di dolore perde sangue, e se sto lasciando una scia che fiutano tutti gli squali, o che sporca le vesti bianche degli angeli.

It was a mistake for me to come here, to be incarnated on this Earth. I am weak, I am fundamentally a bad person, no matter how hard I try to be a good one. Everything I do causes pain to someone else, and reminds me that I am broken to the core. I feel like an alien, like a ghost, like a fish out of water. I feel like a little baby who doesn’t know where to go or what to do, like I need someone to hold my hand as I turn every corner. I feel small and vulnerable. 

But nobody knows how to do this for me, and God threw my soul at this Earth, like a fishing line, a little silver cord attaching me to the end of a long string of pain, so I never learned how to be full or walk alone, free and unanchored.

 God made time my problem, God told me to find a way to be the biggest person, to sacrifice my wholeness, hide my pain, just to be included by some false society, to carry my lineage’s problems on my little shoulders, to be attacked by the pain of others because true, ordinary love from true, ordinary people will never be enough to fill the hole in my soul that has been there since the very first lonely day on this Earth. 

Sometimes I wonder if my bucket of pain leaks blood, and if I am leaving a trail that all the sharks smell, or that dirties the white robes of angels. 


Poem 8:

E alla fine, come all’inizio, e in ogni momento molecolare nel mezzo, torno a me stessa, la madre di tutte le madri, per mangiare vite di dolore e pace, 

lezione nel grande oblio

Incollo le pagine del mio libro con il mio sangue, come il grande autore, il grande 

Trasmutatore del vuoto in tempo e spazio, delle parole in esperimenti

Sono quello che ricorda tutto, facendo ballare e toccare l’immaginazione di me stesso in modo da poter tornare a me stesso volte e volte, aver imparato, esser stato.

Lecco ogni goccia del mio proprio sangue mentre striscia nel mio grembo,

non avendo perso nulla, e cambiato tutto, per piacere, per dolere, per imparare, ancora.

and in the end, as in the beginning, and every molecular moment  in between,

I return to myself, the mother of all mothers, to eat lifetimes of pain and peace, 

lessons in the great forgetting

I glue the pages of my book shut with my blood, as the great author, the great

transmuter of emptiness into time and space, of words into experiments

I am the one who remembers everything, making imaginations of myself dance and touch 

each other, so that I can return to myself time and time again, having learned, having been.

I lick up every drop of my own blood as I crawl back into my womb, having lost nothing, and changed everything, for pleasure, for pain, for learning, again.

Venezia Scalzo Written Statement

Venezia Scalzo is a short Screendance film exploring perception, transformation, and emotion through poetry, movement, and music. Emerging from the sites, sounds, and feelings of Venice, Italy — Venezia Scalzo articulates expansive relations between environment and experience.

A series of eight poems, spoken in Italian with English subtitles, leads the viewer through imaginations and projections of introspective moments. Correlating, the dancer, called by many names, travels through a series of locations and identities in Venice, Italy, suffusing and lulling with water as a linguistic, corporeal, and reflective motif. Intimate and oceanic, Venezia Scalzo winds along Venetian canals through fleeting emotions, provokingly juxtaposed forms, and experiments of truth.

Venezia Scalzo makes manifest universal, atemporal, yet highly individualistic and subjective moments of complexity. Perception is re-birthed in the anticipation, process, and reflection of emotion, taking root in the entanglements of being. Simultaneously mundane and sacred, void and full, mortal and eternal, this film curates glimpses of imperfect, intersubjective knowings and unknowings. Leaning into the inner piers and porticos of each narrative ‘reality,’ Venezia Scalzo dips its toe into infinite possibility of sentience, of becoming. Returning to both human and superhuman narratives, circular, multidisciplinary storytellings bring objective and subjective into flow — sparking empathy and presentness amidst wild imaginative rawness.


The text begins and ends with the oceanic, godlike perspective, imbuing modernist grand narratives into every simple, yet undefinable, narrative within. Likewise, multidisciplinary forms, such as those of language (movement and spoken) and environment (site and sound), are used to reimagine ‘beautiful’ existence, calibrating explorations of positivity, negativity, and neutrality to bring a freshness to (super)human emotional experience. The beauty in Venezia Scalzo is modernist as transitive, contingent, and fleeting, is atemporal yet paradoxically redefined in each moment, implying that the audience’s own lives harbor the complex realities of beauty which co-create with our perception, of ourselves, time, and space.

Multidisciplinary artistic forms are used to generate discursive paradigms, playing with non committal yet encompassing theories. Venezia Scalzo relies on melodramatic elements, including a realist(ic) setting and highly dramatized characters, alongside incessant repetitions with slight variations, in both the poetry and choreography, to uncover the glitches of grandiosity of the everyday. If all verses are components of one character, the film dips into truthisms — having a documentary quality that romanticizes imperfect aspects of life, as in pink neorealism.

If each verse is a different person, as a name often suggests (especially in the natural landscape — for example ‘ocean’ and ‘lagoon’ being linguistically dis-animated and separated) — the film takes on a more melodramatic tone. More specifically, the only untranslated phrase is “mi chiama…” meaning “they call me.” While the linguistic forms wade through imaginations of identity, often using “I am” statements, names are still donned in unarticulated relations.

Adding to this dissonance, a lack of adherence to the gendered grammatical norms of the Italian language renders focus instead on sonic and phenomenological flow, as opposed to heteronormative forms. Subtle, supplemental queer undertones add an element of reclamation and liberation to the composite forms at play. Queer maxims are enmeshed into the film through the personal histories of audience members, altering and questioning perception.

Every component of the film harbors a stark, thrill intensity, intimately intertwined with the energies of primordial death, and by extension life. The dramatic, vulgar, words and movements look backwards, and inwards, into the fundamental maxims of existence, consistent across time and space. The sheer overwhelm of strained, grotesque movement, of religious and cultural symbols often dimensionally skewed, heavy use of body fluids, portray a vital flow of carefree, loving violence reminiscent of the disheveled scapigliatura style.

Overlaying all, a post-modernly intrusive authorship dawdles in uncertain, mundane, ambiguous unknowings, having a hermeneutic (but not inherently suspicious) relationship to the film’s modernist elements.

Venezia Scalzo leans into the paradoxes of postmodern reality and myth, wading in the inescapable circularity of both life and art. The film acknowledges the intricate futilities of its forms in the illogical, unintuitive connections between them. The odd combination of (a)synchreties makes glaringly visible the audience’s hand in deciphering meaning from the combinations. For example, sometimes the sound score can both add to, and overwhelm, the emotional content of the film. Likewise, temporal references are often of the past and/or the future, reimagining our relationship to reality through the film’s many starts and ends, peeking at un-shown worlds.

In all, Venezia Scalzo creatively engages with intersubjective selfhood amidst our present reality, shaped by life and art in past and future. The film leads the viewer through the perceptive, emotional journeys of the protagonist(s), and by extension the audience’s own unique relationship to reality, by articulating filmic glimpses of extreme specificity that are smoothly contextualized by a universal wholeness.

Art on Dimensions: Selections and Essay

Visual arts selections:

screen shot 2023 06 14 at 2.28.13 am
screen shot 2023 06 14 at 2.28.13 am

Poetry Selections:

Essay:

This selection of visual art and poetry pieces articulates themes which occur throughout life — namely the paradoxes/portals lying amongst the dimensions of ‘here and now,’ and in the border between mundane and universal imaginative spaces. My artwork is often inspired by the various planes of existence that we dream through in our day-to-day lives. We indulge in potentialities, weaving in and out of various lucidities to co-construct reality with one another. For example, my pieces “9th Dimension” and “10th Dimension” are explorative documentations of a recurring dream I had in 2020. Dreamscape demands a contemplation of interconnectedness — the space between ourselves and every other thing is fundamentally similar, existing within and beyond awareness.

Similarly, my piece “Our House” is a form and structure emerging from a loose watercolor wash wherein I attempt to literally draw out the feelings of home — an animate idea shared in our collective memories. Here, the loose colors of ‘house’ is the space which births the lines of ‘home,’ complementary yet self-transcendent. “Latent” more specifically explores the choreography of art-making. The piece’s name, and form, are reminiscent of the late-night energies it was created with. The process of creating this piece was a meditative dance, concretized in paint, bringing the ephemeral into the physical, acting as a portal in a way.

In “Breath,” I am reflecting on the collective pandemic trauma’s physicalization in space. The piece was inspired by the textures and forms of various cloth masks that I have — the two vertical lines represent both elastic ear-pieces on masks, and two socially distanced people — both of which are physically separated but vitally united in effort. A mouth-like liminality emerges as these two lines define and transcend boundaries between the internal and external, from the cellular to the societal.

As for the poems, “Fawning From Vitality,” is an exploration of temporalities. Reflecting on the smallness of the present in the grandiosity of existence, it is an attempt to cope with the fatigue of searching for meaning across temporal leaps and bounds. Likewise, “Refraction” is an exploration of spatiality. I wrote this poem on the subway, as my environment refracted into multiplicities of spatial existences of myself, and my fellow-train car passengers. Where the subway train becomes the ancient earthworm, I sifted through the desires and delusions that fill the gaps between ‘here’ and ‘there’ on these mundane paths — offering portals into imaginative infinities.

Space, Falling

Space, Falling is a collaborative and improvisatory performance by Lily Selthofner and Gladstone Deluxe. The work is centered around the transposition of pattern and rhythm from the sonic onto the spatial and sensory, and the exploration of extra-logical geometries.

Performed on May 8, 2023

Special thanks to Marjorie Folkman, Zosha Di Castri, Eva Thomas, and the Barnard Movement Lab