{"id":31789,"date":"2021-03-01T06:00:43","date_gmt":"2021-03-01T05:00:43","guid":{"rendered":"http:\/\/a-desk.org\/?p=31789"},"modified":"2023-07-09T14:34:12","modified_gmt":"2023-07-09T12:34:12","slug":"el-desorden-del-discurso","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/el-desorden-del-discurso\/","title":{"rendered":"El desordre del discurs"},"content":{"rendered":"<p>\u2026 o s\u00ed, perqu\u00e8 existeix una certa contradicci\u00f3 en pensar i escriure sobre l&#8217;obsolesc\u00e8ncia i la ru\u00efna mitjan\u00e7ant un text ben constru\u00eft: amb la seva presentaci\u00f3, el seu desenvolupament i la seva conclusi\u00f3. Com si fos un edifici (ja ho deia Proust en la seva <em>catedral textual<\/em>), em sembla mancat de sensibilitat (digui&#8217;s \u201crigor\u201d, si es vol, o falta de pol\u00edtica ling\u00fc\u00edstica) voler <em>construir<\/em> un text per a parlar de dues nocions que remeten, precisament, a la <em>desconstrucci\u00f3<\/em>: la ru\u00efna i l&#8217;obsolesc\u00e8ncia remeten, en efecte, a la desconstrucci\u00f3 d&#8217;una cosa concebuda com una totalitat espacial i com una totalitat temporal. Ja sigui un edifici, un \u00fatil, un ens qualsevol, tamb\u00e9 un text com una totalitat de sentit, espacial i temporal. Totalitat com a unitat, com a pres\u00e8ncia.<\/p>\n<p>\u2026 sempre a vegades. Potser tamb\u00e9 all\u00f2 que deia Blanchot quan escrivia que ha d&#8217;existir una certa complicitat entre el text i all\u00f2 de qu\u00e8 parla, m\u00e9s enll\u00e0 del contingut. O per a dir-ho en termes que he anat treballant des de fa anys: la manera en qu\u00e8 es diu alguna cosa significa m\u00e9s que all\u00f2 que es diu. El com del text \u00e9s, per aix\u00f2, un element de major import\u00e0ncia en la pol\u00edtica del sentit que el contingut mateix del que es vol compartir. Ranci\u00e8re escriu: \u201cEl que hem comprovat, finalment, \u00e9s que l&#8217;efecte pol\u00edtic d&#8217;una teoria dep\u00e8n menys del contingut dels seus enunciats que de la posici\u00f3 d&#8217;enunciaci\u00f3 que adopta\u201d. I d&#8217;aqu\u00ed, una teoria de l&#8217;escriptura perfectament aplicable a aquest mateix text sobre la ru\u00efna i l&#8217;obsolesc\u00e8ncia: \u201ctal com el proletari es <em>desdoblega<\/em> en si mateix i en burg\u00e8s, tal com el plebeu es <em>desdoblega<\/em> en si mateix i en patrici, aqu\u00ed tamb\u00e9 es produeix un <em>desdoblament<\/em> en el si del llenguatge. Es produeix un desdoblament entre, d&#8217;una banda, la teoria, el contingut i, d&#8217;altra banda, la praxi, les maneres d&#8217;enunciaci\u00f3: el \u2018com\u2019 de l&#8217;escriptura es <em>desdoblega<\/em> llavors en si mateix i en el \u2018qu\u00e8\u2019 per a interrompre aquesta desigualtat de sentit en la comunitat textual. La praxi del llenguatge li diria llavors a la teoria: \u2018jo <em>com<\/em> tu\u2019 (jo tamb\u00e9 compto en el recompte del text, jo tamb\u00e9 tinc capacitat de sentit, jo tamb\u00e9 faig pol\u00edtica, etc.)<a href=\"applewebdata:\/\/21A56F31-E8CD-4B0E-965B-CCC79D5E14BD#_ftnref1\" name=\"_ftn1\"><\/a>\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_1');\" onkeypress=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_1');\" ><sup id=\"footnote_plugin_tooltip_31789_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_31789_1_1\" class=\"footnote_tooltip\">Jacques Ranci\u00e8re, primer; despr\u00e9s, jo mateix. Vegeu Jacques Ranci\u00e8re i Javier Bassas, El litigio de las palabras. Di\u00e1logo sobre la pol\u00edtica del lenguaje, NED Ediciones, Barcelona, 2019, p\u00e0g. 12&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_1');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_31789_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_31789_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Com si, de la ru\u00efna i l&#8217;obsolesc\u00e8ncia, nom\u00e9s es pogu\u00e9s construir un text des de la ru\u00efna i l&#8217;obsolesc\u00e8ncia: sense totalitat efectiva, per fragments, suspenent la seva <em>causa finalis<\/em>.<\/p>\n<p>\u2026 de la mateixa manera que hi ha materials aqu\u00ed (anotacions, cites, reflexions), per\u00f2 no hi ha text si entenem per \u201ctext\u201d aquesta unitat de sentit constru\u00efda que es presenta, es desenvolupa i es conclou. Aqu\u00ed no hi ha \u201ctext\u201d en aquest sentit. Hi ha altres sentits, com aquell que recull el ress\u00f2 d&#8217;altres veus perqu\u00e8 el ress\u00f2 \u00e9s, tamb\u00e9, com la ru\u00efna de la veu. De la mateixa manera que la nostra veu parla aqu\u00ed de la ru\u00efna i de l&#8217;obsolesc\u00e8ncia reprenent el ress\u00f2 d&#8217;altres veus: aqu\u00ed \u2013en un <em>aqu\u00ed<\/em> de pensament i escriptura desconstru\u00eft\u2013 no es comen\u00e7a res ni es vol construir res per a cap finalitat precisa. Reprenent Foucault: \u201cEn el discurs que avui haig de pronunciar, i en tots aquells que, potser durant anys, haur\u00e9 de pronunciar aqu\u00ed, hagu\u00e9s preferit poder esmunyir-me subrept\u00edciament. M\u00e9s que prendre la paraula, hagu\u00e9s preferit veure&#8217;m embolicat per ella i transportat m\u00e9s enll\u00e0 de tot possible inici. M&#8217;hauria agradat adonar-me que, en el moment de posar-me a parlar, ja em precedia una veu sense nom des de feia molt de temps: m&#8217;hauria bastat llavors amb encadenar, prosseguir la frase, introduir-me sense ser advertit en els seus intersticis, com si ella m&#8217;hagu\u00e9s fet senyals quedant-se, un moment, interrompuda. No hi hauria hagut, per tant, inici; i en lloc de ser aquell de qui procedeix el discurs, jo seria m\u00e9s aviat una petita llacuna en l&#8217;atzar del seu desenvolupament, el punt de la seva desaparici\u00f3 possible\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_2');\" onkeypress=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_2');\" ><sup id=\"footnote_plugin_tooltip_31789_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_31789_1_2\" class=\"footnote_tooltip\">Michel Foucault, L\u2019ordre du discours, Gallimard, Par\u00eds, 1971, p\u00e0g. 7-9. Reprenem la traducci\u00f3 castellana d\u2019Alberto Gonz\u00e1lez, El orden del discurso, Tusquests eds., Buenos Aires, 1992. De fet,&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_2');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_31789_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_31789_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p>Reprenent i despla\u00e7ant Foucault. Perqu\u00e8 la meva falta d&#8217;inici, la meva ru\u00efna de text obsolet, el ress\u00f2 de la veu que es va filant aqu\u00ed no es deu a l&#8217;<em>ordre del discurs <\/em>que desenvolupar\u00e0 aquesta cita de Foucault. La falta d&#8217;inici es deu aqu\u00ed al <em>desordre del discurs<\/em>, a all\u00f2 indeterminat que cont\u00e9 la pol\u00edtica de la ru\u00efna i de l&#8217;obsolesc\u00e8ncia.<\/p>\n<p>\u2026 i <em>abans <\/em>de la meva veu tamb\u00e9 hi \u00e9s la veu de Derrida: \u201c\u00c9s com una ru\u00efna que no ve <em>despr\u00e9s<\/em> de l&#8217;obra sin\u00f3 que queda produ\u00efda, <em>des de l&#8217;origen<\/em>, per l&#8217;adveniment i l&#8217;estructura de l&#8217;obra. A l&#8217;origen, va haver-hi ru\u00efna. A l&#8217;origen li arriba la ru\u00efna, ella li arriba primer, a l&#8217;origen. Sense promesa de restauraci\u00f3\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_3');\" onkeypress=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_3');\" ><sup id=\"footnote_plugin_tooltip_31789_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_31789_1_3\" class=\"footnote_tooltip\">Jacques Derrida, M\u00e9moires d\u2019aveugle. L\u2019autoportrait et autres ruines, \u00c9ds. de la R\u00e9union des Mus\u00e9es Nationaux, Par\u00eds, 1990, p\u00e0g. 69. He tradu\u00eft com nom\u00e9s es pot traduir Derrida,&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_3');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_31789_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_31789_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. La pol\u00edtica de la ru\u00efna \u00e9s la ru\u00efna de l&#8217;origen, de la pres\u00e8ncia, de la subjectivitat. La ru\u00efna de tot text parlant de la ru\u00efna.<\/p>\n<p>(\u2026)<\/p>\n<p>\u2026 per a estar d&#8217;acord amb aquest art a contratemps de Miguel A. Hern\u00e1ndez, perqu\u00e8 estem a les ru\u00efnes de la Modernitat. Diria tamb\u00e9 que la Postmodernitat \u00e9s com la Modernitat obsoleta. Per\u00f2 aquesta \u00e9s la nostra dita perqu\u00e8 \u201c\u2026 \u00e9s en les deixalles, en la cat\u00e0strofe, en el f\u00f2ssil del fetitxe, en la ru\u00efna dels somnis on Benjamin troba les energies necess\u00e0ries per a la revoluci\u00f3. En aquestes \u2018deixalles d&#8217;hist\u00f2ria\u2019, Benjamin observa un veritable potencial. Amb l&#8217;obsolesc\u00e8ncia dels objectes, amb la revelaci\u00f3 del seu rostre ocult, podr\u00edem dir que tamb\u00e9 es \u2018destil\u00b7len\u2019 els somnis. En una certa manera els somnis, les promeses, en veure&#8217;s com a fracassats, com a incomplits, s&#8217;identifiquen clarament. I es constata clarament que continuen sent somnis i promeses, \u00e9s a dir, que la hist\u00f2ria continua oberta. \u00c9s en veure&#8217;ls com a destru\u00efts quan realment apareix la seva pot\u00e8ncia\u201d\u00a0<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_4');\" onkeypress=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_4');\" ><sup id=\"footnote_plugin_tooltip_31789_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_31789_1_4\" class=\"footnote_tooltip\">Miguel \u00c1ngel Hern\u00e1ndez, El arte a contratiempo. Historia, obsolescencia, est\u00e9ticas migratorias, ed. Akal, Madrid, 2020, p\u00e0g. 56. Llibre crucial per a entendre l\u2019art contemporani des de&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_4');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_31789_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_31789_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p>L&#8217;\u00e8poca en qu\u00e8 vivim, en art-literatura-filosofia-pol\u00edtica-etc., nom\u00e9s aqu\u00ed t\u00e9 la seva pot\u00e8ncia: assenyalar la pol\u00edtica de la ru\u00efna i de l&#8217;obsolesc\u00e8ncia \u00e9s recobrar el temps perdut, \u00e9s reescriure la Hist\u00f2ria de tal manera que continu\u00ef oberta i, per tant, en la indeterminaci\u00f3 del sentit\u2026<\/p>\n<p>\u2026 perqu\u00e8 \u201caquesta refer\u00e8ncia a la cr\u00edtica al progr\u00e9s de Benjamin [\u2026] s&#8217;ha convertit en un lloc com\u00fa en la hist\u00f2ria de l&#8217;art contemporani, que continua prenent aquesta actitud de rescat d\u2019all\u00f2 obsolet i passat de moda com una posici\u00f3 cr\u00edtica. No obstant aix\u00f2, [\u2026] els canvis en les pol\u00edtiques de producci\u00f3 i la consolidaci\u00f3 de l&#8217;estrat\u00e8gia de l&#8217;obsolesc\u00e8ncia programada transformen per complet el sentit cr\u00edtic de l&#8217;\u00fas del passat, que ara acaba sent integrat en la pr\u00f2pia l\u00f2gica del consum. [\u2026] Es tractaria de buscar les maneres d&#8217;eludir la integraci\u00f3 o, almenys, ser conscients dels seus perills, identificar-los, combatre&#8217;ls, establir una dist\u00e0ncia cr\u00edtica, evitar per tots els mitjans que ens encegui la nost\u00e0lgia\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_5');\" onkeypress=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_5');\" ><sup id=\"footnote_plugin_tooltip_31789_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_31789_1_5\" class=\"footnote_tooltip\">Ibidem, p\u00e0gs. 44 y 49.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_31789_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_31789_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p>\u2026 encara que no aix\u00ed, perqu\u00e8 no es tractaria tant de \u201cser conscients\u201d, de \u201cdist\u00e0ncia cr\u00edtica\u201d. Es tractaria d&#8217;alguna cosa com viure obsoletament (\u201c<i>Il faut \u00eatre absolument obsol\u00e8te<\/i>\u201d, diria avui Rimbaud), amb una subjectivitat <i>arru\u00efnada<\/i>, vivint com les ru\u00efnes i tot all\u00f2 obsolet. Es tractaria d&#8217;anar suspenent la determinaci\u00f3 en tots els seus nivells, viure en aquesta circulaci\u00f3 oce\u00e0nica entre el que soc, les meves determinacions, i el que no soc, la indeterminaci\u00f3 de la ru\u00efna que \u00e9s all\u00e0 a l&#8217;origen, com la mirada infinita<br \/>\nLouise Ackermann escriu\u2026<\/p>\n<blockquote><p><em>Jet\u00e9 par le hasard sur un vieux globe infime,<br \/>\nA l\u2019abandon, perdu comme en un oc\u00e9an,<br \/>\nJe surnage un moment et flotte \u00e0 fleur d\u2019ab\u00eeme,<br \/>\n\u00c9pave du n\u00e9ant.<\/em><\/p>\n<p>Llan\u00e7at per l&#8217;atzar en un vell globus \u00ednfim,<br \/>\nA l&#8217;aband\u00f3, perdut com en un oce\u00e0,<br \/>\nFloto un moment i suro a flor d&#8217;abisme,<br \/>\nDerelicte del no-res.<\/p><\/blockquote>\n<p>\u2026 a aix\u00f2 es referiria potser el <em>in-between<\/em> de Ranci\u00e8re\u00a0<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_6');\" onkeypress=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_6');\" ><sup id=\"footnote_plugin_tooltip_31789_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_31789_1_6\" class=\"footnote_tooltip\">\u201cUn proc\u00e9s de subjectivaci\u00f3 es aix\u00ed un proc\u00e9s de desidentificaci\u00f3 o de desclassificaci\u00f3. O dit d\u2019una altra manera, un subjecte \u00e9s un in-between, un entre-dos\u201d, a J. Ranci\u00e8re, Aux bords&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_31789_1('footnote_plugin_reference_31789_1_6');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_31789_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_31789_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, la circulaci\u00f3 entre all\u00f2 determinat i all\u00f2 indeterminat que vaig proposant, la pr\u00e0ctica de l&#8217;emancipaci\u00f3 i, tamb\u00e9, l&#8217;art pol\u00edtic quan\u2026<\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_31681\" style=\"width: 1930px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/a-desk.org\/?attachment_id=31681\" rel=\"attachment wp-att-31681\"><img aria-describedby=\"caption-attachment-31681\" decoding=\"async\" class=\"wp-image-31681 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/02\/2.FOTO-ADESK-TEXTO-XAVIER-BASSAS.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/02\/2.FOTO-ADESK-TEXTO-XAVIER-BASSAS.jpg 1920w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/02\/2.FOTO-ADESK-TEXTO-XAVIER-BASSAS-595x335.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/02\/2.FOTO-ADESK-TEXTO-XAVIER-BASSAS-768x432.jpg 768w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/02\/2.FOTO-ADESK-TEXTO-XAVIER-BASSAS-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" \/><\/a><p id=\"caption-attachment-31681\" class=\"wp-caption-text\">Ru\u00efna i obsolesc\u00e8ncia d&#8217;una pel\u00edcul\u00b7la que mostren altres temps de la imatge. Fotograma de <em>Light is calling<\/em> (35mm, 8 min, 2004) de Bill Morrison.<\/p><\/div>\n<p>(Imatge destacada: Foc pol\u00edtic: ru\u00efnes i obsolesc\u00e8ncia dels contenidors urbans).<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"applewebdata:\/\/356A68EF-E92C-4FEE-A4A0-A6ACA4A96F57#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_31789_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_31789_1();\">[<a id=\"footnote_reference_container_collapse_button_31789_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_31789_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_31789_1('footnote_plugin_tooltip_31789_1_1');\"><a id=\"footnote_plugin_reference_31789_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\"> Jacques Ranci\u00e8re, primer; despr\u00e9s, jo mateix. Vegeu Jacques Ranci\u00e8re i Javier Bassas, <em>El litigio de las palabras. Di\u00e1logo sobre la pol\u00edtica del lenguaje<\/em>, NED Ediciones, Barcelona, 2019, p\u00e0g. 12 i 13.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_31789_1('footnote_plugin_tooltip_31789_1_2');\"><a id=\"footnote_plugin_reference_31789_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">Michel Foucault, <em>L\u2019ordre du discours<\/em>, Gallimard, Par\u00eds, 1971, p\u00e0g. 7-9. Reprenem la traducci\u00f3 castellana d\u2019Alberto Gonz\u00e1lez, <em>El orden del discurso<\/em>, Tusquests eds., Buenos Aires, 1992. De fet, aquest llibre reprodueix la Lli\u00e7\u00f3 inaugural de Foucault al Coll\u00e8ge de France, pronunciada el 2 de desembre de 1970. <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_31789_1('footnote_plugin_tooltip_31789_1_3');\"><a id=\"footnote_plugin_reference_31789_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\"> Jacques Derrida, <em>M\u00e9moires d\u2019aveugle. L\u2019autoportrait et autres ruines<\/em>, \u00c9ds. de la R\u00e9union des Mus\u00e9es Nationaux, Par\u00eds, 1990, p\u00e0g. 69. He tradu\u00eft com nom\u00e9s es pot traduir Derrida, <em>arru\u00efnant<\/em> l\u2019original que diu: \u201c<em>C\u2019est comme une ruine qui ne vient pas <\/em>apr\u00e8s<em> l\u2019\u0153uvre mais reste produite,<\/em> d\u00e8s l\u2019origine<em>, par l\u2019av\u00e8nement et la structure de l\u2019\u0153uvre. \u00c0 l\u2019origine il y eut la ruine. \u00c0 l\u2019origine arrive la ruine, elle est ce qui lui arrive d\u2019abord, \u00e0 l\u2019origine. Sans promesse de restauration<\/em>\u201d.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_31789_1('footnote_plugin_tooltip_31789_1_4');\"><a id=\"footnote_plugin_reference_31789_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">Miguel \u00c1ngel Hern\u00e1ndez, <em>El arte a contratiempo. Historia, obsolescencia, est\u00e9ticas migratorias<\/em>, ed. Akal, Madrid, 2020, p\u00e0g. 56. Llibre crucial per a entendre l\u2019art contemporani des de l\u2019obsolesc\u00e8ncia, llibre amb el que he fet aqu\u00ed un <em>muntatge<\/em> de cites.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_31789_1('footnote_plugin_tooltip_31789_1_5');\"><a id=\"footnote_plugin_reference_31789_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\">Ibidem, p\u00e0gs. 44 y 49.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_31789_1('footnote_plugin_tooltip_31789_1_6');\"><a id=\"footnote_plugin_reference_31789_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\"> \u201cUn proc\u00e9s de subjectivaci\u00f3 es aix\u00ed un proc\u00e9s de desidentificaci\u00f3 o de desclassificaci\u00f3. O dit d\u2019una altra manera, un subjecte \u00e9s un <em>in-between<\/em>, un entre-dos\u201d, a J. Ranci\u00e8re, <em>Aux bords du politique<\/em>, Gallimard, col. Folio, Par\u00eds, 1998, p\u00e0g. 119.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_31789_1() { jQuery('#footnote_references_container_31789_1').show(); jQuery('#footnote_reference_container_collapse_button_31789_1').text('\u2212'); } function footnote_collapse_reference_container_31789_1() { jQuery('#footnote_references_container_31789_1').hide(); jQuery('#footnote_reference_container_collapse_button_31789_1').text('+'); } function footnote_expand_collapse_reference_container_31789_1() { if (jQuery('#footnote_references_container_31789_1').is(':hidden')) { footnote_expand_reference_container_31789_1(); } else { footnote_collapse_reference_container_31789_1(); } } function footnote_moveToReference_31789_1(p_str_TargetID) { footnote_expand_reference_container_31789_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_31789_1(p_str_TargetID) { footnote_expand_reference_container_31789_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>\u2026 o s\u00ed, perqu\u00e8 existeix una certa contradicci\u00f3 en pensar i escriure sobre l&#8217;obsolesc\u00e8ncia i la ru\u00efna mitjan\u00e7ant un text ben constru\u00eft: amb la seva presentaci\u00f3, el seu desenvolupament i&#8230;<\/p>\n","protected":false},"author":2703,"featured_media":31679,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6095],"tags":[],"coauthors":[6638],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>El desordre del discurs &#8211; 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