Hard to answer this questions, Benjamin Nid! Thanks a lot, very good points! Maybe the deepest. If Soundpainting is a language, so there must be infinite poetics approaches (can I answer what is MY Portuguese...? or what's YOUR French?). Is hard to answer, for me, because it involves personal history, dreams, visions, things we cannot be quick about it. It took me a long time to answer the question "Why did I become in love with this (Soundpainting)? Why?". I still cannot answer completely. For me, Soundpainting make possible the invention of a utopia. A singularity in space-time, where/when everybody could be having fun together. I'm from a Keith Johnstone's (IMPRO - theatre improvisation) background, and the most important pursuit we have is: How to make your partner improviser feel good? How to please him? (like Christophe feels) More deep, Keith teaches you how to be less frightened on stage (and in life) and accept to be transformed. So I use this training on musicians, dancers, visual artists, performers, and even actors, together in the Soundpainting workshops. I can see in Soundpainting the same LIFE SKILLS that we use to train in Keith's IMPRO. But the path, method, is rather different, since establishes the soundpainter/performer game. This very facebook group helped me a lot. Be able to listen and read so many talented and different voices, around the world, helped me not to fall into the easy way of doing "MY Soundpainting" - to flourish the performance with some Brazilian music/dance/folk stuff. Of course I want to use my environment, but poetry (for me) should be an invention of environment, a discovery of places out and in you. A poet I like called Manoel de Barros used to say: To use some words until they belong to no language. (for more:http://wordswithoutborders.org/book-review/manoel-de-barross-birds-for-a-demolition#ixzz3XP13GtYa ). I love questions, and I think every artist doing Soundpainting too, because the focus is on process, and not on product. Is not problem-solving but problem-searching. What Ive been thinking about lately is the collective feel of Soundpainting. Maybe what I like is that its not MY Soundpainting at all and, at the same time, it is. Its like a living organism; you cant separate the vital organs without killing the life in it. I know Walter says that the soundpainter is the composer, the responsible for the live composition, for the piece, the work. I still found it hard to feel this way. Using the same token, is he the brain of it? The heart? But Im not my brain, and not my heart, only. Im an abyss. Or, for Buddhists fans, the word I is an illusion. To use some words until they belong to no language. What does it mean? Thats my conflict as a Soundpainting Geek and an artist. Poetry doesnt mean anything, because is not to be understood, rather, to be discovered. My focus with Soundpainting is completely defocussed, blurred, confused. I dont know where Im going, just where Ive been through. Like Johnstone says: The improviser has to be like a man walking backwards. He sees where he has been, but he pays no attention to the future. His story can take him anywhere, but he must still balance it and give it shape, by remembering incidents that have been shelved and reincorporating them.. Hard to answer your questions, Benjamin. I wish we could all sit down around a fire, in a bright spring night, with cheap wine and some gouda cheese, and talk together about this stuff. My English is too bad and I talk more in a shapeline mode than with words.