Cruz Gonzalez Cadel, actor. eighth blackbird                                              (Complete work @ vimeo.com/139165139/bcd0cdcb57)

          In the mythology of some countries of the southern part of South America the Viuda (Widow) is a female spectral entity that (due to a poorly thought-out deal with the devil) is bound to forever wander the large extensions of pampas killing any lone horsemen unfortunate enough to encounter her. Knowledgeable Viuda employs this mythological figure as a text and transforms via another: a brief paragraph from Berger and Luckmann’s seminal book "The Social Construction of Reality" (see below). The relationship between the music and the composed text morphs from initially mimicking the rhythms of the spoken word towards connecting in less linear and more metaphorical ways.

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[Source text from Berger and Luckmann’s seminal book "The Social Construction of Reality"]: "A strategic legitimating function of symbolic universes for individual biography is the “location” of death. The experience of the death of others and subsequently, the anticipation of one’s own death posit the marginal situation par excellence for the individual. Needless to elaborate death also posits the most terrifying threat to the taken for granted realities of everyday life. The integration of death within the paramount reality of social existence is therefore of the greatest importance for any institutional order. This legitimation of death is, consequently, one of the most important fruits of symbolic universes. Whether it is done with or without recourse to mythological, religious or metaphysical interpretations of reality is not the essential question here. The modern atheist, for instance, who bestows meaning upon death in terms of Weltanschauung of progressive evolution or of revolutionary history, also does so by integrating death within a reality-spanning symbolic universe. All the legitimations of death must carry the same essential task – they must enable the individual to go on living in society after the death of significant others and to anticipate his own death with, at the very least, terror sufficiently mitigated as not to paralyze the continued performance of the routines of everyday life. It may readily be seen that such legitimation is difficult to achieve short of integrating the phenomenon of death within a symbolic universe. Such legitimation then, provides the individual with a recipe for a “correct death”. Optionally, this recipe will retain its plausibility when his own death is imminent and will allow him, indeed, to “die correctly”.