Anchored presently and with roots in the Thriller of the Black Cinema of final of the 40 ' principles of the 50 ', the work, dramatic for moments and with subtle brushstrokes of humor, it will take us of the hand of classic characters like the detective and their apprentice, the eccentric scientist or the Femme Fatale, for different situations raised soon after a series of atypical murders, in those that the murderer unaccountably steals alone the brain of the victims.

Visually the setting in scene of Possible Worlds from the critical distance that allows him its contemporaneidad goes to the resource of the appointment like patternmaker of realities apparently impassable, the vision parallel of John's work that drinks of sources like the illustrious Nelson Goodman and its Ways of worldmaking (1976) it puts to the overdraft old conflicts among the reality, the art and the science like elements, conditions of the perception. Our knowledge of the world as long as gradual process that is, is radicalized like a construction of senses, an architecture personal laid the foundation excess the base of the experience, a here now, lacking all predestination, a “concurrent chance” (in words of José Lezama Lima).

Wardrobe, characters Joyce and George.

Revolvable table in cone form with support point.

1.80m X 0.70m X 0.80m

“Possible worlds”, a critical approach.
Images decoders of the real world.

The reality understood in their own and specific meaning... it designates the way of being of the things as soon as they exist outside of the human mind or independently of her. (1)... but,... and the other point, the world of the abstract ideas that you/they converge and they are intertwined with our notions of the real thing.

If we take a look to figures as Nelson Goodman, mentioned an and another time in the work that occupies us, we can to extract some main guidelines inside their theories, expressed inside Ways of worldmaking (1976), Goodman sustains that we don't know the world but those "versions" that manufacture of him. The world exists, of course, but it is not that what we know. "To know" it is not an immediate experience, but a constructive process in the one that we participate in an active way. To the saga of this type of reasonings “Worlds Posibles”se has outlined an assembly that is been worth of images that have created of the reality other systems of signs, like they are the Cinema, the same Theater, the music, the Plastic arts, the sciences, etc. A group of relating textual basted to get a discursive coherence on the base of a lineal text that one comes narrating, a history. In this point I believe that it is necessary to highlight two fundamental aspects of John's text Mighton (playwright and Canadian mathematician), the first one the film character of their narrative, narrative where it is common to find effects of Flash-Back, narrative parallelisms, allusions to textual aspects located outside of the discursive limits of the proposal, elements that contribute to disarticulate the lineal fable and the theatrical illusion looking for to generate and to enrich a marked relationship among the different texts, the second is the great quantity of extra-aesthetic contents, eminently scientific contents that contribute to the work a great quantity of information enhancing its anecdotic character.

From the conceptual point of view the work mentions “versions of the world” (paraphrasing Goodman) with those that are related often, versions excessively very particular and bounded to its own interpretive mark, we can see this way for example the “version” that gives us the black cinema of the woman (fatal femme) where we can with easiness to find very marked dramatic codes, bound to very well-known images in the position of characters, elements index them used to enrich the mark of references of the proposal. We can see another point in the employment that is made of the music like element patternmaker of the situations and of complement of that mark of references of the one that spoke previously, the music, electronic and blended live he/she offers us that character of the immediate thing that here now, that version of the present moment that can end up integrating in a harmonic way, actor, situation, space, spectator and the history that one comes narrating.

... our life believes the space, our body the expressed thing...

Lastly I wanted to conclude with the handling of the “ space scenic” that formulates the proposal, where the space is not the place where it lapses and-or the action is developed, it is the element that conditions it offering the actor the possibility to create it through its rhythmic impermanence... the actor then draws on this space with the action and his own time, offering us a “version” new every time that combines with this. We can see this way like from the point of view of the address of actors (María Alicia Pacheco) the characters in a playful way are tinged, playing with stereotypes defaulted as the detective (Kike Casterot) and their assistant (Franklin Dávalos), the scientist (Santiago Avadía) that recycle approaches of the for moments “comic” and even the feminine character's several facets (Kathy Serrano) and their dramatic tally (Jorge Villanueva).

These peculiar characteristics contain some of the main guidelines that allowed to articulate that sense architecture that is the assembly in if and that it is been worth of John's work Milton to enunciate our particular version of the world.

Fermín Fleites Morffi.
Artistic director.

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