Iniciar una conversa sobre el consum \u00e9s aventurar-se en un pendent rellisc\u00f3s. El terme “consum” \u00e9s objecte d’innombrables debats, i constitueix en si mateix una caixa de Pandora sem\u00e0ntica en la qual ens proposem lliscar per un moment.<\/p>\n
La noci\u00f3 de consum tendeix a transmetre significats ambigus que es reflecteixen, per exemple, en expressions com a “societat consumista”, que implica balafiament, acumulaci\u00f3 i passivitat; o en frases fetes com “consumit per la solitud” o “consumit pel desig”, que reforcen les normes socials,\u00a0normes de conducta, i suggereixen una possible p\u00e8rdua de control. Consumir habita l’espai llindar entre la restricci\u00f3 i l’abra\u00e7ada, el desig desballestat i la disciplina, la gola i la dieta: podria un ser “consumit per la vida”?<\/p>\n
La perspectiva de ser consumit, dissolt, es troba amb un cert f\u00e0stic que tal vegada pot relacionar-se amb la por de perdre’s, a ser contaminat o absorbit per una altra cosa. Com si l’acte de consumir fos una amena\u00e7a contra un jo suposadament finit. I no obstant aix\u00f2, consumir \u00e9s completar una transacci\u00f3, un intercanvi: canviar i ser canviat. L’acte de consumir mai \u00e9s neutral i mossega la seva pr\u00f2pia cua: consumir tamb\u00e9 \u00e9s ser consumit. Al final, sempre consumim m\u00e9s del que literalment ingeririm, ja sigui idees o prote\u00efnes, energia o kilobytes. Perqu\u00e8 perqu\u00e8 alguna cosa es consumeixi en algun lloc, alguna cosa ha de ser assegurada i transformada en un altre lloc. En altres paraules: no hi ha res desencarnat o ideal en all\u00f2 que ingerim.<\/p>\n
Produir o consumir un element cultural com un poema, per exemple, requereix una gran quantitat d’energia, incloent el menjar per al poeta i el p\u00fablic, o la capacitat d’emmagatzemar – ja sigui en la mem\u00f2ria o en mitjans anal\u00f2gics o digitals – notes i versos als quals tornar. Tals recursos s\u00f3n tangibles i impliquen\u00a0m\u00e0 d’obra, xarxes de transport, una varietat de t\u00e8cniques com l’agricultura o la comptabilitat, aix\u00ed com una pr\u00f2spera ment. La inspiraci\u00f3 no \u00e9s nom\u00e9s una espurna brillant, sin\u00f3 tamb\u00e9 la collita i els vents, els mercats i les l\u00ednies el\u00e8ctriques. \u00c9s l’expressi\u00f3 mateixa de milions de bacteris que col\u00b7laboren per a sostenir la vida.<\/p>\n
Prenguem aquests versos:<\/p>\n
\u201c Como las brasas que arden<\/em><\/p>\n
mientras Ariel y Calib\u00e1n<\/em><\/p>\n
sostienen la soledad del muro oeste.<\/em><\/p>\n
Acuclillados uno frente al otro.<\/em><\/p>\n
Como quien busca su rostro en el coraz\u00f3n<\/em><\/p>\n
de la cebolla.<\/em><\/p>\n
Hurgando, hurgando<\/em><\/p>\n
pese al fr\u00edo y los gases:<\/em><\/p>\n
Un abrigo de fantas\u00eda.\u201d<\/em><\/p><\/blockquote>\n
Aquests versos provenen d’un poema titulat “Ni Crudo ni Cocido”, escrit per Roberto Bola\u00f1o en els anys 80. Inspirat en La Tempestat<\/em>\u00a0– tal vegada l’\u00faltima obra escrita per Shakespeare de manera individual-, \u00e9s usat per Bola\u00f1o per a convocar el seu etern desencantament per una Llatinoam\u00e8rica consumida per les seves pr\u00f2pies paradoxes. Va haver-hi almenys dos esdeveniments aparentment no relacionats que van fer possible aquestes l\u00ednies. D’una banda, Salvador Allende accedint al poder nom\u00e9s per a ser enderrocat per un cop militar el 1973: un esdeveniment que donaria forma a l’univers en el qual el poeta va alimentar la seva imaginaci\u00f3. D’altra banda, la figura del can\u00edbal va haver-se d’establir en la imaginaci\u00f3 col\u00b7lectiva. Una figura ambigua oscil\u00b7lant entre un esclau emancipat i un golut incivilitzat: Calib\u00e1n el can\u00edbal “sostenint\u00a0la solitud del mur occidental”.<\/p>\n
El can\u00edbal – i tot el seu paladar metaf\u00f2ric – \u00e9s potser un company inevitable quan ens aventurem en una discussi\u00f3 sobre el consum. Ni fixes ni sols, existeixen alegrement en els marges entre cultura i naturalesa – devorant, revocant divisions arbitr\u00e0ries, un mos alhora. Tal car\u00e0cter ens ajuda a recon\u00e8ixer que la vida s’enfronta sobretot a una esp\u00e8cie de canibalisme implacable en el qual els humans i els no humans estan inextricablement involucrats.<\/p>\n
El t\u00edtol triat pel poeta, “Mig cuinat” – ni cru ni cuit -, suggereix un estat liminal: romanem mig cuinats, sempre en tr\u00e0nsit, insaciables. Com si el projecte avortat d’Allende i el de la revoluci\u00f3 haitiana s’haguessin convertit en ingredients fermentats pel temps, portats a trav\u00e9s dels oceans, assaonats en la ment d’alg\u00fa, preservada en servidors de dades: que consumim avui per casualitat.<\/p>\n
<\/p>\n
<\/p>\n
(Imatge destacada: Empremtes visibles dels vaixells al Pac\u00edfic nort, 4 de mar\u00e7 de 2009)<\/p>\n
<\/p>\n
Nota
\n1. Roberto Bola\u00f1o,\u00a0Los perros rom\u00e1nticos<\/i> , ‘Ni Crudo, Ni Cocido’ (Kutxa Fundazioa, 1994).<\/p>\n<\/p>\n
<\/p>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
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