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" "If you think that you don’t know, you don’t know. But if you think that you may know, if you think that it’s perfectly possible that you have a knowing, then you can find it. So it’s a matter of opening. It’s a matter of releasing the structures that have been imposed upon you, realising that every form of education is an imposition that’s coming from outside your being. I think the liberating force of art and poetry is that it releases you from that, and it puts you in the place of discovering, of exploring, of acknowledging that you have senses, that you have awareness, that you perceive and are paying attention to the precise form of those perceptions. That’s the joy of the poet, the joy of the artist, to focus completely, zero in on those perceptions and see the universe expanding out of ‘a grain of sand’, as William Blake said. Everything has infinite possibilities of knowledge and that’s what it means to be human. We have been brought up to believe that the machine knows better than we do. Everybody believes that now. That’s preposterous! Machines only know how to do operations, they can’t imagine, they can’t imagine the unimagined, they can’t travel like we can to the end of the galaxies just by thinking about it. So, why are we so willing to renounce our agency as creators? That is what is troubling.
Cecilia Vicuña (born 1948) is a Chilean poet and artist based in New York and Santiago, Chile.
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Our understanding of time is so limited. We have very basic markers of time. We live and we die, but what else? In my opinion, a poem is created outside of time entirely. A quipu, on the other hand, is like traveling through time. We all experience this ability to travel back and forth in time in our souls, in our imaginations, and in our hearts. Mathematicians and physicists attempt to create these fantastic theories and equations, but I have been making art about this all along. I think that poetry has given me this gift of knowing. Not every poet has this. I think it is reserved to certain cultures, perhaps. One must open themselves to these other forms of knowing, but Western cultures have suppressed this. I call it a colonization of the mind.
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(What did ecofeminism mean to you in the 1970s and what does it mean for you, today in 2020?) CV: First of all, I never heard of the term ecofeminism in the ’70s, no one was using that term. [Laughter] I don’t know if anyone used the term to classify their art. I was thinking about it–I was doing it in the ’60s–I was working through what I was seeing and feeling while living in Chile, you know and being near the South Pacific Ocean. I was doing and making what people now call land art long before that language existed as a name or concept, and I’m not the only one either who was shaping the movement without using any terminology to define it.