{"id":33641,"date":"2021-09-06T07:07:10","date_gmt":"2021-09-06T06:07:10","guid":{"rendered":"http:\/\/a-desk.org\/?p=33641"},"modified":"2023-07-09T14:33:52","modified_gmt":"2023-07-09T12:33:52","slug":"hablamos-marciano","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/hablamos-marciano\/","title":{"rendered":"Parlem marci\u00e0"},"content":{"rendered":"<p>Per qu\u00e8 la creaci\u00f3 i recerca de l&#8217;ocult en l&#8217;art \u00e9s tan popular avui dia? Es tracta d&#8217;un renaixement del segle XIX o ha existit sempre, per\u00f2 mai abans reconegut per les institucions conservadores? Jo m&#8217;inclino pel segon. L&#8217;ocultisme en l&#8217;art sempre ha estat el meu principal focus de recerca des del comen\u00e7ament de la carrera acad\u00e8mica; principalment les interseccions de l&#8217;espiritisme en les pr\u00e0ctiques fotogr\u00e0fiques i la cultura del duel en els segles XIX i XX. Per\u00f2, qu\u00e8 \u00e9s el que recentment ha suscitat tant d&#8217;inter\u00e8s per aquest tema \u2014el meu i el d&#8217;altres artistes, investigadores, historiadores, etc.\u2014? La comissaria Cecilia Alemani, en recents declaracions sobre el tema de la pr\u00f2xima Biennal d&#8217;Art de Ven\u00e8cia, afirma que:<\/p>\n<blockquote><p>&#8220;La pressi\u00f3 de la tecnologia, l&#8217;esclat de la pand\u00e8mia, l&#8217;augment de les tensions socials i l&#8217;amena\u00e7a imminent de la cat\u00e0strofe mediambiental ens recorden cada dia que, com a cossos mortals, no som invencibles ni autosuficients&#8230; &#8220;<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33641_1('footnote_plugin_reference_33641_1_1');\" onkeypress=\"footnote_moveToReference_33641_1('footnote_plugin_reference_33641_1_1');\" ><sup id=\"footnote_plugin_tooltip_33641_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33641_1_1\" class=\"footnote_tooltip\"> <a href=\"https:\/\/www.labiennale.org\/en\/art\/2022\/statement-cecilia-alemani\" target=\"_blank\" rel=\"noopener\"><em>The Milk of Dreams<\/em><\/a>, Cecilia Alemani, 59th International Art Exhibition of La Biennale di Venezia, Venice, Italy. <span class=\"footnote_url_wrap\">https:\/\/www.labiennale.org\/en\/art\/2022\/statement-cecilia-alemani.<\/span> <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33641_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_33641_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p><\/blockquote>\n<p>Aquesta consideraci\u00f3 reflexiva de la pr\u00f2pia mortalitat, impulsada pel desenvolupament tecnol\u00f2gic i la confrontaci\u00f3 directa amb la mort, impulsa tant les pors com la curiositat pel desconegut i l&#8217;exploraci\u00f3 de l&#8217;ocult.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>La recerca del que constitueix el temps i l&#8217;espai ha estat un tema permanent des del comen\u00e7ament de la hist\u00f2ria documentada, amb un profund inter\u00e8s arrelat en el segle XIX que va continuar en el canvi de segle XX i fins a l&#8217;\u00e8poca contempor\u00e0nia. No sols es va convertir en un discurs filos\u00f2fic, sin\u00f3 que va traspassar els \u00e0mbits de l&#8217;experimentaci\u00f3 cient\u00edfica, el misticisme i l&#8217;art. Aix\u00f2 es va deure al r\u00e0pid desenvolupament de les tecnologies i els mitjans de comunicaci\u00f3 durant la Segona Revoluci\u00f3 Industrial, que va reactivar l&#8217;inter\u00e8s pels textos metaf\u00edsics i va donar lloc a sistemes de creences com l&#8217;Espiritualisme (<i>modern spiritualism<\/i>, <i>spiritisme<\/i> o <i>espiritisme<\/i>, segons el context cultural). Amb recursos t\u00e8cnics i cient\u00edfics que interrompien el temps visual o permetien a la gent comunicar-se amb uns altres gaireb\u00e9 instant\u00e0niament a trav\u00e9s de missatges el\u00e8ctrics codificats, aquest nou sistema de creences es va desenvolupar com a resposta a les noves maneres de comunicaci\u00f3. No sols es va proposar en resposta als avan\u00e7os tecnol\u00f2gics, sin\u00f3 tamb\u00e9 en relaci\u00f3 amb els moviments i esdeveniments socials de l&#8217;\u00e8poca, com el sufragi femen\u00ed i les altes taxes de mortalitat infantil degudes a les epid\u00e8mies a tot el m\u00f3n.<\/p>\n<div id=\"attachment_33629\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-33629\" decoding=\"async\" class=\"wp-image-33629 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/Alexa-Frankelis_Image_1.jpeg\" alt=\"\" width=\"800\" height=\"883\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/Alexa-Frankelis_Image_1.jpeg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/Alexa-Frankelis_Image_1-362x400.jpeg 362w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/Alexa-Frankelis_Image_1-768x848.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-33629\" class=\"wp-caption-text\"><em>The Haunted Lane<\/em>, ca. 1889, fotograf\u00eda<\/p><\/div>\n<p>L&#8217;Espiritisme, igual que el moviment sufragista, va donar veu a les dones en una \u00e8poca marcada per pr\u00e0ctiques socials molt estrictes i repressives que controlaven fins i tot l&#8217;expressi\u00f3 del dolor. Es considera que el Moviment Espiritualista Modern va comen\u00e7ar el mateix any que el Moviment Sufragista als Estats Units, el 1848. Com escriu Barbara Goldsmith, &#8220;l&#8217;espiritisme i els drets de les dones es van nodrir del mateix conflicte, tots dos van ser respostes al control, la subjugaci\u00f3 i la repressi\u00f3 de les dones per part de l&#8217;Esgl\u00e9sia i l&#8217;Estat&#8221;<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33641_1('footnote_plugin_reference_33641_1_2');\" onkeypress=\"footnote_moveToReference_33641_1('footnote_plugin_reference_33641_1_2');\" ><sup id=\"footnote_plugin_tooltip_33641_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33641_1_2\" class=\"footnote_tooltip\">\u00a0Barbara Goldsmith, <em>Other Powers: The Age of Suffrage, Spiritualism, and the Scandalous\u00a0Victoria Woodhull<\/em> (New York: A.A. Knopf, 1998), 48.\u00a0<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33641_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_33641_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.\u00a0Al poble de Hydesville, Nova York, dues germanes, Maggie i Kate Fox, van ser suposadament capaces de comunicar-se amb l&#8217;esperit \u2013fantasma- d&#8217;un venedor ambulant mort, donant copets en les superf\u00edcies de la seva habitaci\u00f3. Aquests &#8220;cops de Rochester&#8221; poden considerar-se les primeres formes d&#8217;escriptura autom\u00e0tica, encara que no s&#8217;utilitzava llapis ni paper. Per a molts, les habilitats de les germanes i el moviment que sorgia al seu al voltant eren la confirmaci\u00f3 que hi havia una vida despr\u00e9s de la mort i que les seves vides en la Terra significaven una mica m\u00e9s. Tamb\u00e9 era una oportunitat perqu\u00e8 la gent s&#8217;acomiad\u00e9s dels seus \u00e9ssers estimats morts de manera prematura, o en la guerra, on les fam\u00edlies mai van tenir l&#8217;oportunitat de donar un enterrament adequat als seus difunts. En un text de 1880, <i>The History of Woman Suffrage<\/i><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33641_1('footnote_plugin_reference_33641_1_3');\" onkeypress=\"footnote_moveToReference_33641_1('footnote_plugin_reference_33641_1_3');\" ><sup id=\"footnote_plugin_tooltip_33641_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33641_1_3\" class=\"footnote_tooltip\">Anne Braude, <em>Radical Spirits: Spiritualism and Women&#8217;s Rights in Nineteenth-Century America\u00a0<\/em>(Boston: Beacon Press, 1989), 2-3.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33641_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_33641_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>\u00a0<b><\/b>tamb\u00e9 es va involucrar el sufragi femen\u00ed, amb moltes figures clau del moviment etiquetant-se com a espiritistes. Les sufragistes havien declarat que l&#8217;espiritisme era una filosofia espiritual que estava &#8220;&#8230;comprom\u00e8s amb el foment del lideratge femen\u00ed&#8221; i que era &#8220;l&#8217;\u00fanic grup religi\u00f3s en el m\u00f3n&#8230;que ha reconegut la igualtat de les dones&#8230;&#8221;<\/p>\n<div id=\"attachment_33632\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-33632\" decoding=\"async\" class=\"wp-image-33632 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/Alexa-Frankelis_Image_2.jpeg\" alt=\"\" width=\"800\" height=\"1396\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/Alexa-Frankelis_Image_2.jpeg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/Alexa-Frankelis_Image_2-229x400.jpeg 229w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/Alexa-Frankelis_Image_2-768x1340.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-33632\" class=\"wp-caption-text\"><em>Untitled<\/em>, ca. 1913, Photograph from <em>Phenomena of Materialisation<\/em>, Baron von Schrenck-Notzing<\/p><\/div>\n<p>Les sufragistes no van ser les \u00faniques que es van interessar per les t\u00e8cniques espiritistes de comunicaci\u00f3 amb els morts. Al llarg de la seva carrera, Andr\u00e9 Breton es va oposar fermament a la idea de comunicar-se amb els morts a trav\u00e9s de l&#8217;automatisme, per\u00f2 s\u00ed que creia en els resultats creatius en utilitzar aquestes t\u00e8cniques d&#8217;automatisme. Breton i els seus contemporanis van treballar per a despullar l&#8217;automatisme del seu marc cl\u00ednic i espiritual, utilitzant-lo purament com una eina per a la pr\u00e0ctica creativa. Per contra, i sovint eludides per Breton, artistes com Leonora Carrington i Remedios Varo havien abra\u00e7at plenament l&#8217;espiritualitat per a fer front als traumes derivats de les Guerres Mundials i la repressi\u00f3 dels seus contemporanis masculins. A <i>Waking the Witch<\/i>, Pam Grossman examina com aquestes artistes estaven molt influenciades per la mitologia, l&#8217;alqu\u00edmia i l&#8217;ocultisme tant en el seu art, com en la seva vida personal i en la relaci\u00f3 d&#8217;amistat entre elles.<\/p>\n<p>Igual que Carrington i Varo, en el feminisme contemporani de la quarta ona (concretament a Occident\/Estats Units), persones de qualsevol identitat de g\u00e8nere reclamen ara la bruixeria com a mitj\u00e0 d&#8217;apoderament i alliberament contra les pr\u00e0ctiques repressives del sistema patriarcal i capitalista. Les escriptores contempor\u00e0nies, i notables bruixotes, Pam Grossman i Kristen Soll\u00e9e exploren la reivindicaci\u00f3 de la bruixeria i l&#8217;ocultisme a trav\u00e9s de les seves connotacions sempre canviants al llarg de la hist\u00f2ria, i tamb\u00e9 en la cultura digital actual. De la mateixa manera que l&#8217;espiritisme va ajudar a les dones victorianes durant el ferri control social de l&#8217;\u00e8poca continua sent un potencial per a les artistes que treballen avui dia, i que utilitzen aquest mitj\u00e0 per a abordar i desafiar les experi\u00e8ncies i emocions contempor\u00e0nies. La fot\u00f2grafa contempor\u00e0nia Shannon Taggart aborda \u00e0mpliament l&#8217;Espiritualisme en la seva obra. Ha dit, igual que altres te\u00f2rics de la fotografia, que la interconnexi\u00f3 de la mort i la fotografia \u00e9s inevitable, ja que &#8220;les fotografies detenen el temps en capturar la pres\u00e8ncia incorp\u00f2ria d&#8217;una persona i preservar-la indefinidament&#8221;<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33641_1('footnote_plugin_reference_33641_1_4');\" onkeypress=\"footnote_moveToReference_33641_1('footnote_plugin_reference_33641_1_4');\" ><sup id=\"footnote_plugin_tooltip_33641_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33641_1_4\" class=\"footnote_tooltip\">Shannon Taggart, \u201cIntroduction: Spiritualism, Photography, and the Search for Ectoplasm,\u201d S\u00e9ance, ed. by Shannon Taggart (New York: Fulgar Press, 2019), 41-48.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33641_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_33641_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.\u00a0Tamb\u00e9 afegeix l&#8217;espiritisme a aquesta mescla perqu\u00e8, igual que la fotografia, tamb\u00e9 treballa per a &#8220;transcendir la mort&#8221; evocant als difunts. De la mateixa manera que els espiritistes van desdibuixar les l\u00ednies entre ci\u00e8ncia, espiritualitat i pol\u00edtica de g\u00e8nere, Taggart segueix aquesta mateixa exploraci\u00f3. Ha declarat que la seva obra no tracta en absolut de demostrar la validesa dels espiritistes o l&#8217;exist\u00e8ncia del m\u00e9s enll\u00e0, sin\u00f3 que s\u00f3n una s\u00e8rie d&#8217;imatges que &#8220;evoquen la uni\u00f3 del passat i el present&#8221;. El projecte de Taggart origin\u00e0riament tenia com a objecte investigar la comunitat Espiritualista del segle XIX en el nord de l&#8217;estat de Nova York, Lily Dale. Va seguir aquesta s\u00e8rie despr\u00e9s d&#8217;assabentar-se de la mort d&#8217;un familiar seu que una m\u00e8dium espiritista li va transmetre. Les imatges de Taggart capten els espais \u00fanics i el poder silenci\u00f3s que el mitj\u00e0 espiritualista inhibeix. Igual que les sufragistes, se sent atreta per la capacitat de l&#8217;espiritisme de generar veu des d&#8217;un punt de vista d&#8217;all\u00f2 no escoltat o reprimit. Experimentar els efectes que tant l&#8217;espiritisme com el dolor van tenir en la seva pr\u00f2pia fam\u00edlia, la van inspirar per a explorar en profunditat aquesta connexi\u00f3.<\/p>\n<div id=\"attachment_33635\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-33635\" decoding=\"async\" class=\"wp-image-33635 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/Alexa-Frankelis_Image_3.jpg\" alt=\"\" width=\"800\" height=\"1188\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/Alexa-Frankelis_Image_3.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/Alexa-Frankelis_Image_3-269x400.jpg 269w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/Alexa-Frankelis_Image_3-768x1140.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-33635\" class=\"wp-caption-text\">Remedios Varo, <em>Papilla estelar,\u00a0<\/em>ca. 1958, oil on canvas. Fuente: https:\/\/historia-arte.com\/obras\/papilla-estelar.<\/p><\/div>\n<p>L&#8217;espiritisme va ser utilitzat com a t\u00e0ctica per les dones victorianes, com a forma d&#8217;expressi\u00f3 i alleujament emocional del dolor en una societat que regulava rigorosament el seu comportament mitjan\u00e7ant normes d&#8217;etiqueta. Les seves t\u00e8cniques serien posteriorment usades com a eines estrictament creatives pels surrealistes, a difer\u00e8ncia de Carrington i Varo, que van abra\u00e7ar plenament les connotacions ocultistes en la seva pr\u00f2pia obra i les utilitzaven com a canals d&#8217;emancipaci\u00f3 de les esferes femenines. L&#8217;espiritisme i la m\u00e0gia continuen sent una font d&#8217;empoderament per a les comunitats marginades tamb\u00e9 ara en el Feminisme de la Quarta Ona, una demanda de la pr\u00f2pia veu i una reflexi\u00f3 sobre la mortalitat quan un s&#8217;enfronta a supressions sociopol\u00edtiques.<\/p>\n<p>&nbsp;<\/p>\n<p>(Imagen destacada:\u00a0<i>The Haunted Lane<\/i>, ca. 1889, fotograf\u00eda)<\/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_33641_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_33641_1();\">[<a id=\"footnote_reference_container_collapse_button_33641_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_33641_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_33641_1('footnote_plugin_tooltip_33641_1_1');\"><a id=\"footnote_plugin_reference_33641_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\"> <a href=\"https:\/\/www.labiennale.org\/en\/art\/2022\/statement-cecilia-alemani\" target=\"_blank\" rel=\"noopener\"><em>The Milk of Dreams<\/em><\/a>, Cecilia Alemani, 59th International Art Exhibition of La Biennale di Venezia, Venice, Italy. <span class=\"footnote_url_wrap\">https:\/\/www.labiennale.org\/en\/art\/2022\/statement-cecilia-alemani.<\/span> <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_33641_1('footnote_plugin_tooltip_33641_1_2');\"><a id=\"footnote_plugin_reference_33641_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">\u00a0Barbara Goldsmith, <em>Other Powers: The Age of Suffrage, Spiritualism, and the Scandalous\u00a0Victoria Woodhull<\/em> (New York: A.A. Knopf, 1998), 48.\u00a0<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_33641_1('footnote_plugin_tooltip_33641_1_3');\"><a id=\"footnote_plugin_reference_33641_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">Anne Braude, <em>Radical Spirits: Spiritualism and Women&#8217;s Rights in Nineteenth-Century America\u00a0<\/em>(Boston: Beacon Press, 1989), 2-3.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_33641_1('footnote_plugin_tooltip_33641_1_4');\"><a id=\"footnote_plugin_reference_33641_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">Shannon Taggart, \u201cIntroduction: Spiritualism, Photography, and the Search for Ectoplasm,\u201d S\u00e9ance, ed. by Shannon Taggart (New York: Fulgar Press, 2019), 41-48.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_33641_1() { jQuery('#footnote_references_container_33641_1').show(); jQuery('#footnote_reference_container_collapse_button_33641_1').text('\u2212'); } function footnote_collapse_reference_container_33641_1() { jQuery('#footnote_references_container_33641_1').hide(); jQuery('#footnote_reference_container_collapse_button_33641_1').text('+'); } function footnote_expand_collapse_reference_container_33641_1() { if (jQuery('#footnote_references_container_33641_1').is(':hidden')) { footnote_expand_reference_container_33641_1(); } else { footnote_collapse_reference_container_33641_1(); } } function footnote_moveToReference_33641_1(p_str_TargetID) { footnote_expand_reference_container_33641_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_33641_1(p_str_TargetID) { footnote_expand_reference_container_33641_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>Per qu\u00e8 la creaci\u00f3 i recerca de l&#8217;ocult en l&#8217;art \u00e9s tan popular avui dia? Es tracta d&#8217;un renaixement del segle XIX o ha existit sempre, per\u00f2 mai abans reconegut&#8230;<\/p>\n","protected":false},"author":2728,"featured_media":33630,"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":[6122],"tags":[],"coauthors":[6659],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Parlem marci\u00e0 &#8211; A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/hablamos-marciano\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Parlem marci\u00e0 &#8211; A*Desk\" \/>\n<meta property=\"og:description\" content=\"Per qu\u00e8 la creaci\u00f3 i recerca de l&#8217;ocult en l&#8217;art \u00e9s tan popular avui dia? 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