Gemma Aguilar Reflection of The Gaze

The reflection of the gaze: the need for a conscious spectator
The reflection of the gaze

Gemma Aguilar
Gemma Aguilar, Bachelor of Fine Arts at the University of Vigo (1995), done doct
oral studies in 1996-1998 of which carries a thesis project postergardo desired
but over the years. Now seeks to resume-boosting channeling their written reflec
tions through the site via-blog in the community of El Pais, as ammeg02 be hyper
textual, visual puke and other cultural services. From the blog comes to e * thr
ough limboboy limbo where he has another hole to dwell in the network and for wh
om this text. This consideration is Peter Greenaway, Bill Viola, the screen as c
anvas, paper presented at the Cendeac de Murcia, International Congress Peter_Gr
eenaway, Image impure [cinema, body painting] on November 25, 2006. tags: intern
et, breadcrumbs, hypertext, digital, narrative, liquid life, memory, forgetting,
writing, rhizome, label, tag, metatag, indexing, story, blogosphere, user, plur
arquia, hollow, voyeurism, reflection, reality, fiction , art, painting, literar
y
Gemma Aguilar 1
And if you ask me who is Heidi, I answer: apple is a strange form of winter. Its
acidity, the thrill of knowing the right way, his rough, the kiss of all leyend
as1 poisoning.
In our reality ficcionalizada2 the characters jump from one medium to another, j
ust as we find Heidi in a poem by Elena Medel, can aparecérsenos news. Represent
ation formats conforming approaching a most unexpected character in any
audiovisual murmur increasingly homogeneous and likely to become background nois
e band as a "visual" everyday 3. A imperceptible pace (if organic, as the growth
of the nails or hair: silent but constant) become representation schemes of our
time unabashedly hybridizing and penalizing our no-update (dangerous carelessne
ss incompatible with the assimilation of change ) with the risk of becoming vuln
erable objects or subjects, susceptible of easy vapuleamiento4.
February 1
Elena Medel, (http://www.elenamedel.com/) My first bikini, DVD, Barcelona, 2002,
p. 54 In the context of media culture, the concepts of truth and falsehood have
lost
any validity. Everything is true and false at the time. Which imposes a new prot
ocol regarding the image and the transmission systems of knowledge, which tends
to reposition both the social functions of image-producing technologies and to r
edefine the notion of reality. Joan Fontcuberta, Kiss of Judas. Photography and
Truth, Gustavo Gili, Barcelona, 1997, p. 175
3
players shared - icons like trading cards - trivialized as
severe - fictionalization of reality - assimilation of the imaginary - rumor sli
ppage in the constitution of the story credible - camouflage advertising informa
tion channels - instant constant traces the movements draw card to each consumer
gesture Paradoxically our capitalist society, and leave us behind faceless, fac
eless, shapeless form the consumer, generated through our credit cards a consume
r profile that lets you typed and qualify to assign a key allowing identificatio
n and differentiation of our labeling and and conversion into valuable currency
in the system.
4
Currently, we are all the Alice that Lewis Carroll warned that "what is here
you see, you need to run everything one can to stay in the same place. If you wa
nt to go somewhere else you have to run at least twice as fast. "The search for
an elusive individuality leaves little time for anything else. There is always
Gemma Aguilar 2
In this context, reflecting on the work of Peter Greenaway and interested in hyb
ridization formats verifica5 therein and, more specifically, the influence of pa
inting procedures, we come to the work of author Bill Viola: both authors rooted
their training in the art that underlies his work as a skeleton form and consis
tencia6 dotador. between the pictorial and literary distance (approximately)
new symbols of distinction on offer that promise to bring us to our goal and con
vince all that are with us in the street or visit our home, in fact, we've met,
but these new brands invalidate those which promised to get same thing just a mo
nth or a day earlier. In the game of individuality,there is no time for a breat
her. Zygmunt Bauman, Liquid Life, Ediciones Paidós Iberica SA, Barcelona, 2006,
pp. 36-37
5
As in other communication channels, in Peter Greenaway's creations there Assim,
themes and Personagens convivem reais com or fictional universe, semper elaboraç
ão cuja ao escapes conventional sumarized we palavra ea imagem com mais we varie
d suportes.Así, themes and real people living with fictional universe whose prod
uction always flees from the conventional, involving word and image in many diff
erent media. (Translation mine) Gilberto Alexandre Sobrinho, "I Peter Greenaway
fences," AV Magazine 2 Year 2, April 2004, ISSN 1806-8081
a fictitious network that hosts real characters.
6
Estou convinced that storytelling can be não aos aos writers and filmmakers
tem outras coisas mais fazer than interesting to. It is, as André Bazin sugeriu
or cinema nasceu uma combinação of theater, literature and painting, the latter
foi semper forgotten forest. Pouquíssimos filmmaker is anxious about em imagens
behavior. I mesmo big as Bergman and Scorsese, is committed to Ilustração text c
om ea theatrical mimes, ou ainda com a proposta Pirandello to portray Idéias by
meio of Personagens. Or if cinema tem mais isso Autônomo do that. Please, let te
r um cinema-cinema to see Tenho of imagens com a criação. Mattos, C.A. Greenaway
film homenageia seus heroism, p. 04, quotes gathered by, Aleixandre Sobrinho in
"Os fences Peter Greenaway," AV Magazine 2 Year 2, April 2004 ISSN 1806-8081
Gemma Aguilar 3
Peter Greenaway7, Nightwatching
Since different ways, but increasingly distant, formal inquiry (mainly cinema ex
perimental8 in the case of Peter Greenaway and video art in the Bill Viola), bot
h authors come to the DVD9 format adopting current today as usual, being route o
f main presentation to the public facilities
July 8
Peter Greenaway, http://www.petergreenawayevents.com/petergreenaway.html Accordi
ng to the statement of Santos Zunzunegui we collect, the route chosen by Peter
Greenaway is the natural evolution of cinema adaptive face to their survival is
consistent with our times: For the last hundred years are now go to the movies o
n a permanent confrontation with the arts and the breathtaking surrounding impor
t purchases (also has been Obviously, time export of findings). Speaking of movi
es is, therefore, do painting, photography, but also in literature, theater, mus
ic and more. But not in a metaphorical way but in a living way to put into play
so common and what they all have different expressions of human creativity. Only
in this light the film may be considered its revival in the time of crossing th
e border of the millennium. And just assuming its proper place in the concert of
the arts will be able to provide answers to that question that Peter Handke enu
nciated by the following formula: "What thing now is to the eye?". Archipelago,
Cinema: From sideshow to audiovisual, 22, 1995, 'In the course of time' Santos Z
unzunegui, p. 14
9
Chronophotography (the still picture) and cinematography (the true movement of t
he real) are (...) according to Godard, "between Marey and Lumière lack a machin
e." In other
a dual device with no other support to be the reverse of the other. Thus, the ma
chine "theoretical" missing between Marey (photography) and Lumière (film) is, o
f course, video. The video not as an object or a work, but as a given state of t
he image, as the expression of a visual search of an oscillation, a stage betwee
n two states of representation. Exit 3, Offstage, Madrid, 2001, 'From a picture
of the state or the influence of cinema in contemporary creative photography', P
hilippe Dubois, P. 137
Gemma Aguilar 4
museos10 galleries. Both Peter Greenaway and Bill Viola uses the media as suppor
t for their work: while the two in his creative process important evidence conce
rning pictorial assimilates each processed differently. In either case, it is an
intellectual process in which there is a conscious reflection that results in a
work directed to a skilled and motivated audience for a full enjoyment of the p
roposal made.
10
Just as the opera was considered from the s. XVII and then a
kind of umbrella of all the arts, summa artis in merging the most beautiful and
fine arts that become partners and converge to provoke through narratives and ly
rical interpretations, emotions of all kinds,usually linked to a dramatic purpo
se, cautionary, reviewing passages epic, mythic, historical or sentimental, the
video is now half that in a sense, contains the same capacity for integration, s
imilar to the opera while incorporating different elements alone and independent
ly, are creative ways with their own identity. Moreover, video art found exceeds
by more than cinematic narrative or documentary feature, linked to both technic
al and mass analog sources, as sensory evocation in the search for a connection
with the viewer sensitive, emotional, secretive and ambiguous while complex, wit
h imprecise borders are still to be determined and which are abstract in that ca
pacity, as well as operatic spectacle, most genuine values from the use of techn
ology as the language of modernity. These qualities, shared only in sympathy wit
h the film industry by the experimental film that wants to overcome the dependen
cy narrative through experimentation and the search of expressive plastic, incre
asingly favor the acceptance of this medium in the field of creation , postmoder
n identity that represents the technological age in which we live. (...) Today,
video art, after experiencing a boom in recent decades, is becoming more widespr
ead and is perfectly integrated in the context of contemporary visual arts today
, the result of speculative whims and fads, are hosting a renewed public interes
t and more specialists or vice versa, and even rudimentary analog media for no l
onger regarded with contempt archaic painting, enjoying a situation that sees th
e digital environment overcome and assimilated by the market. Now the pictures l
ive in harmony with LCD displays, LCD monitors or flat, in an idyllic vision of
the post-modern decor, in which new technology gurus reinterpreted the Renaissan
ce masters, see recent work of Bill Viola. Revealing the invisible. Contemporary
video art. 'The invisible reality', Juan Carlos Rego, pp. 18-19. Ministry of Cu
lture and Sport, Madrid, 2005
Gemma Aguilar 5
Bill Viola, Going Forth by day11
In this sense, both the movie Funny Games and Cache, both from Austrian filmmake
r Michael Haneke
Through a series of images and icy cold, Michael Haneke has continued to dust th
e contradictory elements of a welfare society in which wealth always hides what
siniestro12.
appeal to audience participation for the full establishment of the works, his sp
eech raised a metalinguistic immersed in the visual environment and an important
implication of socio-cultural13.
Atom Egoyan, Exótica14
November 1912
Bill Viola, http://www.guggenheim.org/exhibitions/past_exhibitions/viola/ Àngel
Quintana, Revelation Haneke
http://salonkritik.net/archivo/2006/03/apocalipsis_han.php
13
Mattias Frey, Michael Haneke,
http://www.sensesofcinema.com/contents/directors/03/haneke.html
14
Girish Shambu, Senses of Cinema, The Pleasure And Pain Of "Watching": Atom Egoya
n's
Exotica http://www.sensesofcinema.com/contents/01/13/exotica.html
Gemma Aguilar 6
Also in this line is the work of the Canadian Atom Egoyan, who plays on the exot
ic side voyeurism of the viewer to become interwoven with the narrative that is
offered as a puzzle. In The pianista15 (Michael Haneke) is appealing to the sens
ibility of the viewer, as in previous works, basing the effectiveness of their c
orrosive nature and forceful. Already in the novel on which part of the film, El
friede Jelinek Nobel envisions as a dominant gentrification deep pain in our day
s drawing it with his tongue sharp and sarcastic, lashing with the whip of stabb
ing sentences, terse and aggressive.
This old woman is one who just go up but not passing through the collector. Thin
k you can hide that has come up here, in this car. The truth is that long ago th
at everything does not care and knows it. He was no longer worth paying. The han
d bag has a ticket for the next world. This should also be valid for the tram. A
t that moment a lady asked how to get to that place and she does not respond. No
answer though she knows exactly how to go. The lady does not leave anyone alone
, stir the whole car and distracting people on one side and another to look out
over the street looking for seats.It's a terrible hiking forest trails, has a h
abit of altering the contemplative quiet of the innocent ant tickle her thin mak
ing them stick. It causes irritated animals expel acids. She is among those who
stand on principle every stone to see if there is a snake below. Each course, ho
wever small, is carefully tracked by this lady in search of mushrooms and berrie
s. She is of this type of people. Of those who squeeze every last drop each work
of art and proclaim it publicly. In the park cleaned up the bank with a handker
chief before sitting down. In restaurants reviewed the silverware with a napkin.
Rummage through the costume of a close relative, as brush and dig looking hair,
letters or grease stains. And now, this woman is disgusted with vehemence sound
because no one is able to provide information. He claims that nobody wants to g
ive you information. This woman represents the most ignorant, but that is beyond
one thing: the will to fight. He faces either if it comes to story.
15
Nina Hutchison, Senses of Cinema, Between Action and Repression: The Piano Teach
er
http://www.sensesofcinema.com/contents/03/26/piano_teacher.html
Gemma Aguilar 7
ELLA down in the street just looking lady and looks sarcasmo16 step.
Similar attitude is recognized in Greenaway's proposals:
Ultimately, the cultural exhibitionism of Greenaway's films Seems more Than Enga
ged with the present with the Past. As with historical curatorial Work (see, for
example, the catalog of historical 1992 Louvre exhibition), the films invite us
to re-read Our Culture, Irreverent and eccentric trajectories Proposing to take
us Through the hundreds of artifacts juxtaposed in obsessively Collectibles and
Celluloid museum displays a wry animated by humour17.
The question to be asked is whether these proposals artistic approach (in the br
oadest sense of the word art - what today would have restricted sense? -) Is rea
lly different in substance, from a formal point of view and conceptual. Undoubte
dly, the answer is negative in nature. It is clear that despite the different wa
ys of formalizing their work, reflections of the authors are departing in a harm
onious, common in regard to the visual (literally) from the simultaneous articul
ation contemporary sources of audiovisual resources (textual) heterogeneous and
their participation in the everyday, until the acid irony of his looks disposses
sed of what might be called political correctness shame (or standards-oriented).
At the same time, we realize that this is a necessary discourse approach increa
singly adopted by more artists for the social concern is directed towards a cult
ural insight that the speed inherent in our days tend to cancel as a requirement
more for their (mis) incorporation. transmitter and receiver: distance (approxi
mately)
The emergence of new types of viewers is a concept that is handled in certain se
ctors of film analysis, but few people dare to try to define how the viewer actu
al18.
16 17
Elfriede Jelinek, The Piano, Mondadori, Barcelona, 2004, pp. 25, 26 Art & Film,
Art & Design, Academy Group Ltd, London, 1996, "Peter Greenaway and the
Technologies of Representation, The Magician, the Surgeon, Their Art and Its Pol
itics ", Bridget Elliott and Anthony Purdy, p. 20
Gemma Aguilar 8
The current production system comprises audiovisual19 bulímica20 compulsion as a
means of normalized consumption, the attitude Acriticism as privileged and gene
rally banal anecdote and protagonists, multiplying the production and disseminat
ion of the same and, consequently, increasing the marginalization of another ins
ide a vast and somewhat without hierarchy [To the extent that the network in whi
ch information is distributed is distributed nature versus previous models in wh
ich the model was of a centralized or decentralized, as stated David Ugarte in t
he power of networks, http://www.deugarte.com/gomi/el_poder_de_las_redes.pdf] as
long as we are in a phase of (re) construction of the world through changing th
e structure of information that opens the dangerous (?) possibility of modifying
the structure of power. In any case, some general disorientation allies with th
e ease of participation espectador21 that when you purchase a user profile (half
at least) can intervene and directly involved in the authorship of the work, le
ading to a rapprochement between the issuer and receiver.In this way, allows fo
r the provision of information processes that go beyond the structures of media
democratization (in these cases the spaces are fissures hacktivism
18
Alejandro Diaz, Shadow Train, On the fragmentation of the contemporary image. Th
e
insight, http://www.trendesombras.com/articulos/?i=46
19
read media (by applying a larger value label), which inhabits the screens
large and small who are with us or waiting for public or private environments
20
So things would not it be informative anorexia, refusal to accept despair
any information, one of the possible reactions to the trend of cyberspace to fil
l the empty too? Slavoj Zizek, Lacrimae Rerum. "The global hypertext", Essays on
modern cinema and cyberspace, Editorial Debate, Madrid, 2006, p. 254
21
Browsers, operating systems and search engines are not neutral tools But eat wit
h
built-in specific social, cultural and Aesthetic agendas. To Emphasize The Impor
tance of Being networked is one. Understanding Is Another network architectures.
It is the task of new media activists, artist and theorists to take the lead an
d probes Not Only But Also critical undertaker mediate the outcomes to a multitu
de of Audiences. Geert Lovink, The Principle of Notworking. Concepts in Critical
Internet Culture, http://www.hva.nl/lectoraten/documenten/ol09-050224-lovink.pd
f
Gemma Aguilar 9
hiding in the capitalismo23 canales22 for which the challenge is survival, incre
asing the speed with which the filled structure and nomads have to relocate to m
aintain their sense). This tension forces tend distribution structures of inform
ation to address the plurarquia24 through networks like the blogosphere featurin
g support for espacios25 as gaps where ubicarse26: The fund, once again: the pow
er that gives us network to create (and demolished) myths, to win the future by
counting
22
How to describe the system of ownership without talking about violence? Violence
drives
to be installed in a space there. Without hesitation, Rousseau calls a fence in
order of first right of ownership. In this place or this box, by force or by law
, every one lives at home. And now, in a logical space, the battle being waged a
round the signs. And to seize these new enclosures, you can discuss ways: to tes
t, demonstrate, persuade, as regards the content of the messages of truth, and s
econdly, we can undertake it with the very subject on which states mouth: anathe
matized, gagged, capture him, kill him on the third row, we can lay hands on sup
port to appropriate channel or signal: sound and noise, lines or waves, suddenly
, everything goes through he belongs who owns it. These are, in short, old and n
ew strategies. The latest, best, prefer to debate dogma or purchase, less tiring
, more innocent, seemingly without violence. Those who have denounced the dogmas
channels! Michel Serres, "Plan of the property," Atlas, Cátedra, Madrid, 1995,
p. 156
23
On the other hand, the advantage of users or crowds (Michael Hard & Antonio Negr
i, in
Multitude: War and Democracy in the Age of Empire) against institutions of power
, is the speed that presents its capacity to detect and adapt to the swift evolu
tion of digital devices so that the "use" in fact only obtained after a "hunt" t
hrough the game of cat and mouse.
24
David de Ugarte following the plurarquia is the system of organization
corresponds with distributed networks and lean against the model of democracy (e
xcluding options) is characterized by an abundance model, as he himself says, "S
omeone who intends and wants to be added. [...] Although most not only sympathiz
e but warned against a proposition, it could not prevent its realization. Democr
acy in this sense is a system of scarcity: the community has to choose between o
ne thing and another, between a filter and another, between one representative a
nd another. " The
25
power
of
the
networks
http://www.deugarte.com/gomi/el_poder_de_las_redes.pdf John Perry Barlow, one of
the most representative of cyberculture Californian
goes on to offer another metaphor stranger to define the Internet in the coming
years: the sale of wine without bottles. [...] The value was in its transmission
(embodied in a book, record or other media) and not the thought conveyed.
Gemma Aguilar 10
stories. Because the revolution, the new freedoms, is a storya beautiful story
of the future, come true when we believe it, we begin to live, today, in it.
27
we share and
Anna Gaskell
Julia Fullerton-Batten
The grass only exists between the large uncultivated areas. Fill in the blanks.
Grows between, and among other things. The flower is beautiful, useful cabbage,
poppy makes us mad. But the grass is overflow moral28 a lesson.
"In other words, the bottle was protected and not wine. Now, as information ente
rs cyberspace, the birthplace of the mind, these bottles are vanishing. With the
advent of digitization, it is possible to replace all previous forms storage of
information by a meta-bottle: complex models, and highly liquid, of ones and ze
ros. " John Perry Barlow, "Selling wine without bottles, the economy of mind on
the global network," in The Wanderer, ed. Siruela 1995, p.10-22. Fifth
26
Regazzoni,
The
challenge
of
the
cyberculture
ammeg02 http://www.chasque.net/umbrales/rev112/parte1c.html hypertext, visual pu
ke and other cultural services, a home in
the gap, http://lacomunidad.elpais.com/ammeg02/2007/7/16/un-hogar-el-hueco, I li
ke the introduction of e * limbo http://e-limbo.com/articulo.php / Art/2590
27
David de Ugarte, The power of networks
http://www.deugarte.com/gomi/el_poder_de_las_redes.pdf
28
Henry Miller, Hamlet, Corrêa, pp. 48, 49, reported by Gilles Deleuze, Felix Guat
tari,
Rhizome, Pre-Textos, Valencia, 2005, p. 43
Gemma Aguilar 11
The generation of these holes makes it possible for usuarios29 libre30 exchange
information and knowledge constitute a movement of simultaneous network with a g
rowing interest and an exponential growth in which the challenge is greater enjo
yment indexing and search-performance track of production as self-sufficient as
possible for a (certain) durability [even nomadic] and above all autonomy.
Emma Kay
For her series of large-scale paper prints, Emma Kay has-been working from books
of varying length and genre, compiling Comprehensive lists of all the material
objects, in order of Their appearance, in The Given texts. These lists Were Exac
tly Then typeset to fill a rectangle of a size Given Within the frame of the pri
nt. The disappearance of the object is mourner In These works by an obsessive At
tempt to reconstruct the 'object-world' of The Given
29
now that everyone can (can) say do we mean? Do we have something to say?: Browsi
ng, watching, reading, waiting, thinking, deleting, chatting, skipping and surfi
ng are the default condition of online life. Total Involvement Implies madness t
o the Highest degree. Characterized What networks is a shared sense of potential
ity That does Not Have to be performed. Geert Lovink, The Principle of Notworkin
g. Concepts in Critical Internet Culture,
http://www.hva.nl/lectoraten/documenten/ol09-050224-lovink.pdf
30
what David de Ugarte, in the power of networks, consider cyberactivist lyrical s
peech: The lyrical, understood as the way of creating options for the future fro
m what is lived, felt, enjoyed and done in the present is but representation on
account of a particular ethos, a way of life that arises as an option among othe
rs, not seeking to annul the field to another or deny them. The lyrical invited
to join without being diluted, seeking conversation, not membership. This is an
ethical dimension in front of the exclusive, sacrificial and confrontation which
inevitably raises the epic.
Gemma Aguilar 12
narratives. They erase the narratives in the process Themselves, But fail to arr
ive at an actual 'picture'. It is left to the viewer to fill in the gaps, thereb
y Necessarily relying on memory, imagination, Even counterfeit. Yet the gaps are
too great, and one Could Hardly Anyone Actually imagine reading Through the Ent
ire list. Apart form hinting at the antithetical Characteristics of object and t
ext, Kay Another Seems to be making, Paradoxical subtle point about the nature o
f narrative. Does, After All, Any Attempt at a one-to-one representation in text
result in Utter unreadability? Is not it the very nature of narrative to conden
se, to Abridged, to leave gaps? 31
This index goes beyond doubt by the semantics (structures like clouds of content
through the tags associated with each node, defining meta tags in the headers a
nd the body of the html that structure our pages, descriptive alts to insert our
images titles refer to the hyperlinks ...) and links to open lines of research
and experimentation as both philological and philosophical literature (to identi
fy some labeling).Temporal disorganization and fragmentation
The world has become chaos, but the book remains a picture of the world, caosmos
-radicle rather than root-cosmos. A strange mystification of the book, the more
the more fragmentado32 total. Digital worlds have the ability to break the chron
ological narrative linearity due to the intrinsic characteristics of the environ
ment: fragmentation, immediate access and connectivity between units narrativas3
3.
31 32 33
(LVO), http://www.desk.nl/ ~ lenny / smart / smart_cat.htm Gilles Deleuze, Felix
Guattari, Rhizome, Pre-Textos, Valencia, 2005, pp. 15, 16 Landow, G.P., Hyperte
xt. The convergencee of contemporary critical theory and
technology. Baltimore and London: The John Hopkins University Press, 1992, refer
red to by Diego Bonilla, as a narrative structure. Using statistical algorithms
to control nonlinear narrative hypermedia
2011/DiegoBonillaUSA.pdf http://www.razonypalabra.org.mx/anteriores/n49/bienal/M
esa%
Gemma Aguilar 13
Baettlegroup for Art34
Not very clear distance of more than twenty years between these two texts, if we
do not go to his identification footer. In any case, what is decisive? Nor is t
ranscendent medium in which the fragmentation takes place at which both allude.
Similarly, hyperlinked texts and contexts distant in time, between the Book of p
asajes35 of Walter Benjamin or My abuelo36 Valérie blog Mrejen and narrative dis
sonances there are more tunes that compilation.
The poetic method in action: Benjamin is sensitive to the most strange, exceptio
nal, highly individual to experience, discover rare in the general meaning, rath
er than look for the usual general and accumulation of same. His gaze is fragmen
tary, not because they renounce all, but because the search almost invisibles37
details.
with
its
character
fetishist
personal
(Universal)
and
All of them (hyper) linked to a greater or lesser extent, in Mnemosyne Atlas38 A
by Warburg:
At seventy years after his death, the legacy of Warburg is impeccable. The fragm
entary, open, unfinished, displacement and the unstable, wavy line, the primum m
obile, the Dionysian, in short, are the signs that define the legacy
34 35 36 37
Baettlegroup for Art, http://www.baettle.net/index.php?id=12 Walter Benjamin, bo
ok tickets, Akal, Madrid, 2005 Valérie Mrejen, My grandfather, Peripheral Editor
ial, Murcia, 2007 Beatriz Sarlo, " The writing workshop, "Seven essays on Walter
Benjamin, Fund
Cultura Economica, Buenos Aires, 2000, p. 26
38
Mathias Bruhn, and Hypertext Encyclopedia, Aby Warburg (1866-1929). The Survival
of an
Idea, http://www.educ.fc.ul.pt/hyper/resources/mbruhn/
Gemma Aguilar 14
one of the most influential art critics of the twentieth century. His gravitatio
n on the new century seems asegurada.39
Aby Warburg, Mnemosyne Atlas
We checked in our days, and the paradox that the more diffuse appear to us the d
efinitions of the terms we use to identify areas of knowledge, the more we label
(objects: files, images, ...), as in posts If the process of shaping the semant
ic web, to see us stripped (by progressive disability) of hierarchical structure
s in which we used to locate content.
Ghitalla Franck, Visualizing the online debate on the European Constitution40
In this sense, the project The Tulse Luper Suitcases41 of Peter Greenaway (2003)
, is built from the object classified and inventoried in an encyclopedic will co
ver the representation of the world around a character, giving an aspect
39
Alejandro Oliveros, A legacy of images, the atlas of the memory of Aby Warburg,
http://noticias.eluniversal.com/verbigracia/memoria/N91/apertura.html
40 41
Visualizing the online debate on the European Constitution, actually http://tiny
url.com/d9k7o recreation of The Falls (1978), facilitated by new technologies
Gemma Aguilar 15
subjective to an objective technical definition. It is linked closely with the r
omantic spirit that translates so well in Hugo von Hofmannsthal Chandos42 Letter
Lord.
Peter Greenaway, The Tulse Luper Suitcases
On the way from Romanticism to the present confluence of both conceptual art and
Dadaism and Surrealism. The proximity of certain works of Annette Messager43, S
ophie and Christian Calle44 Boltanski45 is undeniable.
Sophie Calle, Birthday Ritual, 1981
Christian Boltanski, 1994
Thus,the ability to "sum up" in personal property or the value of the object us
ed to us from the frantic pace of capitalist consumption
42 43 44 45
von Hofmannsthal, Hugo, Lord Chandos Letter, Photo-Library Yerba, Murcia, 1981 c
an think Histoires to steal the work of Annette Messager, 1990 Ritual choose the
image of birthday, Sophie Calle, 1980-1996 the selected works of Christian Bolt
anski esInventaire ayant des objects à appartenu
vielle dame joins the Baden-Baden, 1973
Gemma Aguilar 16
(Accelerated each second) lags almost an object during its production process, b
efore it is sold.
Liquid life is a life consuming. Assign the world and all animate and inanimate
fragments of the role of objects of consumption: that is, items which lose their
usefulness (and therefore its luster, its attraction, its seductive power and v
alue) over the same act of being used. Provided further trial and evaluation of
all animate and inanimate pieces of the world fit the pattern of such objects co
nsumo46.
Annette Messager, Histoires des robes, 1990
between memory and forgetting: toward others (nuevas_?) narratives through two e
xamples of narratives (literary and hypermedia) distant in time as the two contr
asting events of the previous block of content (Deleuze-Guattari-Landow) see how
two authors, Borges and Diego Bonilla, come to a similar strategy to justify th
e break with linear narrative structure. Both Borges and Diego Funes memorioso47
Bonilla in A Space of Time48, choose a dysfunction in memory of his narrators.
Vincenzo Vitiello tells us about the work of Borges:
1. A story-a fiction, an artifice, "Borges tells about the memory. Narra, becaus
e here the memory is not a concept or idea, an abstract representation of a univ
ersal power of the mind. It is a character Ireneo Funes, a young mestizo son of
a laundress of Fray Bentos, a town in Argentina, and a doctor
46 47 48
Bauman Zygmunt, op. cit., pp. 18, 19 Jorge Luis Borges, Funes the memoirist, htt
p://www.zap.cl/cuentos/cuento158.html Diego Bonilla Castañeda, A Space of Time,
http://www.aspacetime.net/
Gemma Aguilar 17
English. A wild horse ran over Irenaeus age of nineteen, leaving him paralyzed.
But the coup by which froze had given both the gift of remembering everything. A
ll: not only the tree and the branch and the spider hangs suspended in the air,
its invisible thread, not just the dog and the stone-view once, just once, "not
only the number and the figure the word once, once, had occasion to imagine or h
ear, but it all: the various transformations of the plant varies according to su
nlight, the slightest vibration of the branch, each of the movements the legs of
the spider, the positions of the dog run, the most subtle roughness of the ston
e, the differences of 5 to 25 and 52, the various lengths of the sides of an irr
egular polygon and "aes" "Mary" . Everything. And yet, before his disgrace, Iren
eo Funes was no different at all from demás49.
Diego Bonilla Castañeda himself, explains his creative process:
A Space of Time, 50 since its conception, is a project that is conceptually the
structure of history as narrative, the nonlinear form developed for the project
was developed in parallel with the visual narrative. The main narrator is an old
tramp with a mental illness known as temporal lobe epilepsy. " Unlike epilepsy
"grand mal" with generalized seizures, the temporal lobe epilepsy is focal and o
ccurs within the brain. The temporal lobe controls the processing of emotions an
d feelings, and when it is affected by electrical discharges are generated sympt
oms such as auditory and visual hallucinations, feelings of déjà vu and jamais v
u, feelings and religious experiences and macropsia micropsia, among others. Epi
leptic seizures can occur in isolation or as a recurring condition. The disease'
s main narrator interacts with the narrative structure of the work, which, thoug
h flexible, has a main timeline is interspersed with parallel narratives. [...]
The narrator, instead of telling what the character thinks indirectly uses the f
ilter of consciousness [...] and all that brooding protagonist's brain is expose
d in a flowing interior monologue. The stream of consciousness translates into a
succession of words. "51
49
Vincenzo Vitiello, Borges. Memory and language. Circulo de Bellas Artes, Madrid,
2007, p.
20
50
Diego Bonilla, Castaneda, A Space of Time, http://www.aspacetime.net/
Gemma Aguilar 18
The question of memory as a hub of culture as the narrative and representational
conventions, focuses the work of British artist Emma Kay, who likewise brings i
nto question both the data value itself as the storage of individual. The memory
of the idea is not first memory and then forgotten. That's the myth, not realit
y of knowledge. Universally known to forget. Because the universal erases the de
tails, to keep only the details, to keep only the essentials. What is unique as
such is olvidado52.
Emma Kay, The World from Memory
Still used to manage not only the book but the library file with its physicality
and access protocol, frequented increasingly digital files in which raw transie
nce, immediacy and ubiquity, consistent with our temporality líquida53.
51
Diego Bonilla, as a narrative structure,
2011/DiegoBonillaUSA.pdf http://www.razonypalabra.org.mx/anteriores/n49/bienal/M
esa%
52
Vincenzo Vitiello, Borges. Memory and Language, "Ireneo Funes, the memory space,
Circulo de Bellas Artes, Madrid, 2007, p. 22
53
Currently, we are all the Alice that Lewis Carroll warned that "what is here
you see, you need to run everything one can to stay in the same place. If you wa
nt to go somewhere else you have to run at least twice as fast. "The search for
an elusive individuality leaves little time for anything else. There are always
new symbols of distinction on offer that promise to bring us to our goal and con
vince all which are with us in the street or visit our home, in fact, we've met,
but these new brands invalidate those which promised to do the same just a mont
h or a day before. In the game of individuality there is no time for a breather.
Zygmunt Bauman, op. cit, pp. 36-37
Gemma Aguilar 19
Cultural Reflections on cognition, knowledge, and memory, however, are rare Thes
e Days, "Uncle Tom the" memory industry "and Developments in artificial intellig
ence. Discussions of cognition and memory are Usually confined to the philosophy
of mind or cognitive psychology, Español Which is why the artist Emma Kay's Rec
ent work on cognition, memory, and Knowledge is Particularly Engaging, Given ITS
artistic context. Kay's incorporation of Various feats of Memorization Into her
art-drawing a map of the world from memory complete with place names, rewriting
the Bible and the plots of Shakespeare's plays from memory-Clearly Recalls the
braggadocio of the music hall memory men, farrier mediated by the discipline of
the junior high school classroom54.
Increasingly, the memory that no longer need the material record of the data to
become the herramientas_líquidas conocimiento_líquido enabling their location or
their tracks (sometimes with the help of mnemonic elements as crumbs pan55:
Internet, although it's the truism by now, is based on hypertext and, increasing
ly, the direct jump from the Browser. So, surfing the Internet is as complex as
moving through the forest where Hansel and Gretel56 feared lost).
54
John Roberts, The Practice of failure,
http://www.cabinetmagazine.org/issues/5/practiceoffailure.php
55
Juan Carlos Garcia, The Brothers Grimm and Usability. The trail of bread crumbs,
http://usalo.es/8/los-hermanos-grimm-y-la-usabilidad-el-sendero-de-migas-de-pan/
56
Since budgets Ozon narrative there is no evident interest in verisimilitude.
The conventions of probability are omitted, and referred to a code of ambiguous
reality, hybrid, distributed among youth stereotypes and influences coming from
children's literature. Preserving the same idea of ambiguity, feelings of the ch
aracters are never identified, interventions by caring and overt hatred, there i
s a vague notion of who he loves and who hates. At the same time, this vagueness
appears to be constructed to measure the perception that the director is of ado
lescence, a turbulent era in which the sexual drive is a problematic factor, unr
esolved, and always subject to be modified. [...] On the other hand, there is a
post to the narrative conventions of fairy tales, with forests and players alway
s intimidated 'naughty'. The fable of Hansel and Gretel is metatext clear: a cou
ple of children who are lost and can not find the way back they thought they had
marked (breadcrumbs on the literary, shoe prints on the tape). After suffering
of desperation by hunger,find a house that seems to have food (sweets made in t
he story, a log cabin covered by grass in the second). And the inhabitant of the
house turns out to be a persona non grata (witch and an ogre literary no less,
the same logic, respectively). Several of the formal parameters in the service o
f this allusion to the fantastic: a photograph of
Gemma Aguilar 20
that lead. But like the breadcrumbs have always been words, seems to want to sug
gest the analytical etimológicopsicológica by Serres leads us in reference to th
e Horla, Guy de Maupassant story:
Hors-off-comes from FORIS or forestry, which means it is well known, the front d
oor to the outside, forum should mean at first the fence surrounding the home, g
arden or lawn, before designating the public square in the city. The family that
preposition semantics is ordered as a movement little by little, the closest to
the farthest: the door to the doorway to the nearby area, and then to the marke
t square outside ... no one covers both fixed sites as a shift by analytic conti
nuation careful. And the whole story follows this same path. [...] Similarly, th
e forest [fôret] belongs to the king's court. [...] That's the psychology, disci
pline variable, unfortunately ignorant of espacio57.
Ellen Kooi
We thus digitaldependientes increasingly sophisticated devices that make up our
pack protésicos58 survival (imprescindible_?)
contrasting colors and intense, a show that favors contemplative spaces on the u
biquity of the word. About Les amants criminels (François Ozon), Omar Zúñiga Hid
algo, Les Amants Criminels, disturbing fairy tale, http://www.lafuga.cl/fuera_de
_campo/los_amantes_criminales/
57 58
Michel Serres, "Mapping of the story", op cit, pp. 66, 67 All human beings, thei
r biological body, muscular, animal, has become the
mechanical prostheses. Our own brain and not in us, fluctuates around us in the
innumerable ramifications airwaves and we cirdundan. Jean Baudrillard, and subje
ct videosphere fractal http://www.morfologiawainhaus.com.ar/Baudrillard.pdf
Gemma Aguilar 21
A man sets himself the task of portraying the world. Over the years he peoples a
space with images of provinces, kingdoms, mountains, bays, ships, islands, fish
es, rooms, instruments, stars, horses and people. Shortly before his death, he d
iscovers that the patient labyrinth of lines traces the image of his cara59.
59
Jorge Luis Borges, The Maker, referred to by Vincenzo Vitiello, Borges. Memory a
nd Language,
Circulo de Bellas Artes, Madrid, 2007
Gemma Aguilar 22

Gemma Aguilar Reflection of The Gaze

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The reflection of the gaze: the need for a conscious spectator

The reflection of the gaze

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