Σ – Fragment from an Unwritten Chapter

(For the micromental opera “Crucifixion vs Return of the Healer” – a project by End Of The Worlds)

She is not introduced as a central figure, nor as a defined presence within the narrative structure. Instead, she emerges as a carrier of knowledge – non-verbal, embodied, and historically dispersed. Her voice does not follow a doctrinal line. It unfolds through unspoken relationships: breath and timing, blood and memory, cycles and restraint. Her presence is not symbolic. It is structural. Known under changing names in scattered documents, her image remains elusive. The records are incomplete, the references indirect. She is remembered not through accounts, but through what vanished with her. This absence is not accidental. It is the result of a long and deliberate process of removal. She was not countered. She was neutralized. Her gestures were erased, her spaces dissolved, her knowledge redefined as threat. What followed was a reduction – of agency, of autonomy, of presence. The language of her elimination was framed as necessity, purification, and order. But the underlying logic was instrumental: a regulation of fertility, transmission, and memory. The continuity she represented was interrupted, not by argument, but by systematized deletion. Within the framework of Crucifixion vs Return of the Healer, she reappears as resonance. Not as narrative content, but as an architectural quality of the work itself. She is no longer situated in image or voice, but in the thresholds between both. Her return is neither spiritual nor mythic. It takes place in the tonal field, in the texture of layered, digitally processed images, in the latency of form. She does not act. She does not speak. She conditions the perceptual structure in which the work unfolds.

There is no closure. There is no restitution.
But the removal is no longer complete.

Her name is no longer spoken.
What she carried remains.