Walking & Talking Aloud in Urban Spaces the voice as memory and the War MachineMarion Velasco ROLIM - PPGAVIA Universidade Federal do Rio Grande do Sul.Versao para o ingles: Mariana Bandarra.Paper apresentado na 7th International Deleuze Studies Conference Istanbul, 2014 - Models, Machines and Memories. Sessao 3 - Painel: X4 - Performance Art, coordenada pelo ator e dramaturgo canadense, Martin Julien. ITU Faculty of Architecture. Taskisla. 14/07/14, 15h10>16h40. Istanbul, Turkey.As an artist, I investigate the immateriality of Performance Art, combining sound and mixed technology to create performative actions that blend in or stem from everyday life situations. For this reason, I am interested in the experience, in the presence and resonance of the body through voice (spoken, sung, processed) as well as through the sound events the body engages with, captures, and produces. Seeking for the unpredictable and leaning on chance, I practice the walk as a strategy to find places and sounds that become fundamental pieces in the creation of works and actions. In my understanding, the walker, with his or her practice, by integrating themselves to a sound context, also helps build it, as described by Brandon LaBelle (2012), "Stepping out from the house, the acoustical view of the sidewalk opens up, which is dotted with rhythmical patterning drummed out by the step in all its metered and fluctuating dynamic. To follow this is to track the marks and scuffs amidst the urban texture, forming a map of so many itineraries. From the daily stroll to the determined walker, the cartography of the step also traces out the audible events surrounding and aiding pedestrian movement. Rhythm, in piecing together the heat of the sound wave with the materiality of the built environment, sculpts out a time-space figure whose energies temporally demarcate the city. (LaBelle, 2012: 105-106)Deleuze (2006:47) believes that lines are constitutional parts of the things and events. Therefore everything has its geography, its cartography, its diagram."In the woven fabric that forms the city, beyond the segments, circulation, circuits and the ways of using urban space, obscure connections and seemingly meaningless signals and ligne de fuite are created, since, as pointed out by LaBelle (2012), "The city is also a noise as well as a text, a culture as well as a map, a reverberant terrain as well as a space full of signs; a history surfacing through government policy as well as the potent sonority that envelopes everyday life. (...). (LABELLE, 2012:108)Therefore, the crossing of signs, the rumors of memory and other events that make up the city's everyday life can be read.Travessa do Fala-So, which loosely translates as "Lonely Talker Lane", was found in other lines of roaming: in virtual routes through Google Map-associated websites, while I was planning a trip to Lisbon, where I was to present a paper at the Sixth International Deleuze Studies Conference, "the territory in-between" (1). The intriguing name of the Travessa which pays tribute to a talkative resident, but at the same time, keeps him anonymous, made me want to visit the place and create a performative action, whose proposition seemed to