{"id":34196,"date":"2021-11-01T07:30:41","date_gmt":"2021-11-01T06:30:41","guid":{"rendered":"http:\/\/a-desk.org\/?p=34196"},"modified":"2023-07-09T14:33:44","modified_gmt":"2023-07-09T12:33:44","slug":"split-and-explote-la-pantalla-es-un-campo-de-minas","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/split-and-explote-la-pantalla-es-un-campo-de-minas\/","title":{"rendered":"Split and Explode. La pantalla \u00e9s un camp de mines"},"content":{"rendered":"<p><strong>Un text pot teixir fraccions de discursos contradictoris i presentar-les com un raonament coherent.<\/strong><\/p>\n<p>Escriure sobre la fragmentaci\u00f3 de la pantalla a (aquesta) pantalla fragmentada \u00e9s la connexi\u00f3 m\u00e9s directa possible amb la idea de llegir (aquest) text. El que hi ha entre la pr\u00f2pia escriptura del text i la seva lectura en aquest lloc web \u00e9s precisament una pantalla dividida (els par\u00e8ntesis abans assenyalats fan el paper de finestres connectades). I el que aqu\u00ed es proposa \u00e9s un text fragmentat, ja sigui contradictori o coherent, per a una atenci\u00f3 dividida, la de vost\u00e8, fragmentada igualment davant la lectura d'(aquest \/ aquell) text.<\/p>\n<p><strong>++++<\/strong><\/p>\n<p>Tota pantalla \u00e9s fragmentaci\u00f3. La pantalla s&#8217;inscriu una condici\u00f3 fragment\u00e0ria en all\u00f2 que presenta. La fragmentaci\u00f3 de la pantalla no \u00e9s m\u00e9s que una incid\u00e8ncia en el sistema d&#8217;enunciaci\u00f3 de la imatge en moviment, de la seva circumst\u00e0ncia o de la seva sintaxi. Aquesta caracter\u00edstica formal i\/o discursiva \u00e9s la que dota la pantalla de la seva pretesa unicitat, \u00e9s el que crea un m\u00f3n-pantalla i per tant, un m\u00f3n del fora. Aix\u00ed, la pantalla crea un univers en flux que mant\u00e9 viva la idea de representaci\u00f3.<\/p>\n<div id=\"attachment_34174\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-34174\" decoding=\"async\" class=\"wp-image-34174 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/1.Jaime-Davidovich.jpg\" alt=\"\" width=\"800\" height=\"542\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/1.Jaime-Davidovich.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/1.Jaime-Davidovich-590x400.jpg 590w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/1.Jaime-Davidovich-768x520.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-34174\" class=\"wp-caption-text\"><em>TV Collection<\/em> (1979\u2019s). Jaime Davidovich<\/p><\/div>\n<p><strong>++++<\/strong><\/p>\n<p>La pantalla transporta la llavor de la fragmentaci\u00f3, una llavor que es reprodueix en cada canvi de pla perqu\u00e8 es trenca en la nostra ment la finestra immediatament anterior. Arrosseguem ja moltes finestres trencades, fetes trossos per la incessant activitat i el desenvolupament descarrilat del llenguatge audiovisual. Llavors i finestres que es multipliquen de manera end\u00e8mica a l&#8217;espera d&#8217;un col\u00b7lapse de la gen\u00e8tica audiovisual contempor\u00e0nia.<\/p>\n<p><strong>++++<\/strong><\/p>\n<p>La &#8220;Pantalla global&#8221;<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34196_1('footnote_plugin_reference_34196_1_1');\" onkeypress=\"footnote_moveToReference_34196_1('footnote_plugin_reference_34196_1_1');\" ><sup id=\"footnote_plugin_tooltip_34196_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34196_1_1\" class=\"footnote_tooltip\">\u00a0Lipovetsky, G. y Serroy, J. (2009). <i>La Pantalla Global. Cultura medi\u00e1tica y cine en la era hipermoderna<\/i>. Anagrama: Barcelona.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34196_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_34196_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> \u00e9s l&#8217;ep\u00edtom d&#8217;aquesta circumst\u00e0ncia. &#8220;Tot \u00e9s pantalla&#8221; perqu\u00e8 quan traiem el cap al m\u00f3n nom\u00e9s veiem fragments. El llenguatge audiovisual s&#8217;ha imposat com la nostra visi\u00f3 de m\u00f3n. Fins i tot s&#8217;ha fet amo de la realitzaci\u00f3 en viu i en directe dels nostres somnis nocturns. Realitat i ficci\u00f3 es van plegar en un mateix temps que ja no \u00e9s lineal. La pantalla roman al marge de les nostres inquietuds, s&#8217;inhibeix davant el trastorn de les coordenades espai-temporals en les que hem fonamentat la nostra cultura. La pantalla roman vanitosa i inflexible admetent tot,\u00a0<em>inmisericorde\u00a0<\/em>davant l&#8217;esquerda de la imatge del m\u00f3n.<\/p>\n<div id=\"attachment_34177\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-34177\" decoding=\"async\" class=\"wp-image-34177 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/2.-Camaras-de-vigilancia.jpg\" alt=\"\" width=\"800\" height=\"472\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/2.-Camaras-de-vigilancia.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/2.-Camaras-de-vigilancia-595x351.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/2.-Camaras-de-vigilancia-768x453.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-34177\" class=\"wp-caption-text\">C\u00e0meras de vigil\u00e0ncia<\/p><\/div>\n<p><strong>++++<\/strong><\/p>\n<p>Pregunteu a un aficionat als videojocs pel concepte de<em> split screen<\/em>. No ser\u00e0 el mateix que el d&#8217;un professional que mant\u00e9 videoconfer\u00e8ncies en el seu \u00e0mbit de treball. La divisi\u00f3 de la pantalla \u00e9s un recurs que s&#8217;ha fragmentat a si mateix: com a funci\u00f3 comunicativa, com a categoria, com a situaci\u00f3, escenari o marc d&#8217;expressi\u00f3. A la pantalla dividida de <em>Fortnite<\/em> (Epic Games, 2017) s&#8217;han arribat a trobar cad\u00e0vers d&#8217;oficinistes en avan\u00e7at estat de fragmentaci\u00f3.<\/p>\n<p><strong>++++<\/strong><\/p>\n<p>El que entenem per pantalla dividida pertany a el metabolisme propi del dispositiu audiovisual en el seu tr\u00e0nsit cap a l&#8217;absorci\u00f3 general de la representaci\u00f3 del &#8216;m\u00f3n. L&#8217;insaciable apetit del seu teixit de p\u00edxels, cada vegada m\u00e9s compacte, \u00e9s capa\u00e7 d&#8217;assimilar tot tipus d&#8217;informacions. Va comen\u00e7ar trencant els temps i els espais d&#8217;acci\u00f3 fins arribar a fer possible la conviv\u00e8ncia de la telecom\u00e8dia i les not\u00edcies tr\u00e0giques d&#8217;\u00faltima hora. Va assimilar el z\u00e0ping per compondre un tauler inaudit de g\u00e8neres i estils elevant la velocitat i el so de tots ells i arribant a suplantar la m\u00fasica de fons o a les veus del carrer. L&#8217;ansietat d&#8217;aquesta superf\u00edcie electr\u00f2nica i cristal\u00b7lina \u00e9s la nostra, la seva capacitat de mantenir emmarcada l&#8217;agitaci\u00f3 i el sotrac s&#8217;ha convertit en la nostra manera de sobreviure.\u00a0Qui no s&#8217;ha mirat en una pantalla com si es tract\u00e9s d&#8217;un mirall?<\/p>\n<div id=\"attachment_34180\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-34180\" decoding=\"async\" class=\"wp-image-34180 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/3.-Videodrome-de-Richard-Cronenberg.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/3.-Videodrome-de-Richard-Cronenberg.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/3.-Videodrome-de-Richard-Cronenberg-595x335.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/3.-Videodrome-de-Richard-Cronenberg-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-34180\" class=\"wp-caption-text\"><em>Videodrome<\/em> (1983), David Cronenberg<\/p><\/div>\n<p><strong>++++<\/strong><\/p>\n<p>La pantalla \u00e9s un camp de mines. Eliminem <em>pop ups<\/em> en <em>fps\u00a0<\/em>\u2014<em>f<\/em><i>irst-person shooter,<\/i>\u00a0videojoc de disparar en primera persona\u2014 saltem d&#8217;un tema a un altre deixant un rastre err\u00e0tic dominat per pulsions, emocions i urg\u00e8ncies. I mentre la pantalla es multiplica cap a dintre ens engoleix amb ella com en el film <em>Videodrome<\/em> (David Cronenberg, 1983), portant-nos a una densitat visual en la qual \u00e9s impossible orientar-se. La nostra guerra i el nostre rep\u00f2s succeeixen all\u00e0 dins. Al despertar, caminem sobre un immens camp de pantalles trencades (\u00bf<em>split screen<\/em>?), \u00e9s l&#8217;escenari que deixa la batalla<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34196_1('footnote_plugin_reference_34196_1_2');\" onkeypress=\"footnote_moveToReference_34196_1('footnote_plugin_reference_34196_1_2');\" ><sup id=\"footnote_plugin_tooltip_34196_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34196_1_2\" class=\"footnote_tooltip\">La refer\u00e8ncia visual per aquest paisatge la trobo en la instal\u00b7laci\u00f3 de Hans Haacke Germania, per al pavell\u00f3 alemany a la Biennal de Ven\u00e8cia de 1993, en qu\u00e8 feia refer\u00e8ncia expl\u00edcita a les&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_34196_1('footnote_plugin_reference_34196_1_2');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34196_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_34196_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><strong>++++<\/strong><\/p>\n<p>La recerca d&#8217;una visi\u00f3 integral, completa, envoltant, \u00e9s una constant en les arts visuals. Leon Battista Alberti va induir als pintors del seu temps a considerar el marc de la pintura com una finestra oberta. Per\u00f2 les finestres es van multiplicar, els tr\u00edptics, pol\u00edptics i retaules barrocs desbordaven la mirada, &#8220;els ulls sempre han volgut m\u00e9s&#8221; i l&#8217;art ha buscat la forma de satisfer-los. Des de\u00a0<em>Napole\u00f3n<\/em> (1927) d&#8217;Abel Gance fins <em>Jackie Brown<\/em> (1997) de Tarantino, l&#8217;\u00fas d&#8217;una pantalla dividida, expandida o fragmentada ha vingut aportant possibilitats narratives o simultane\u00eftats espai-temporals que permeten el relat eixamplar-se en la ment.\u00a0Per\u00f2 la pantalla dividida tamb\u00e9 ens va permetre trencar els eixos d&#8217;acci\u00f3 de la diegesi per abordar les funcions perceptives i sociopol\u00edtiques de l&#8217;aparell cinematogr\u00e0fic. &#8220;La divisi\u00f3 del sensible&#8221;<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34196_1('footnote_plugin_reference_34196_1_3');\" onkeypress=\"footnote_moveToReference_34196_1('footnote_plugin_reference_34196_1_3');\" ><sup id=\"footnote_plugin_tooltip_34196_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34196_1_3\" class=\"footnote_tooltip\">Ranci\u00e8re, J.(2002), <i>La divisi\u00f3n de lo sensible. Est\u00e9tica y pol\u00edtica<\/i>. Consorcio Salamanca.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34196_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_34196_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 dimensi\u00f3 pol\u00edtica de l&#8217;est\u00e8tica, t\u00e9 lloc a la pantalla audiovisual d&#8217;una manera literal.<\/p>\n<p><strong>++++<\/strong><\/p>\n<p>El monitor, escindit de la televisi\u00f3 i acoblat a l&#8217;ordinador ha anat cobrant protagonisme amb el temps<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34196_1('footnote_plugin_reference_34196_1_4');\" onkeypress=\"footnote_moveToReference_34196_1('footnote_plugin_reference_34196_1_4');\" ><sup id=\"footnote_plugin_tooltip_34196_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34196_1_4\" class=\"footnote_tooltip\">Per a m\u00e9s informaci\u00f3 sobre aquest tema consultar &#8220;La colonitzaci\u00f3 de les pantalles. Sobre l&#8217;exposici\u00f3 Pantalla Global &#8220;, de Jorge Luis Marzo. publicat&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_34196_1('footnote_plugin_reference_34196_1_4');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34196_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_34196_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. La informaci\u00f3 va deixar de ser llenguatge per esdevenir imatge i el m\u00f3n es va fer pantalla vigilant i pantalla de vigil\u00e0ncia. El seu triomf com a gestora de l&#8217;entorn, tant t\u00e8cnic com social, va fer possible l&#8217;imaginari psico-t\u00e8cnic i biopol\u00edtic que avui hem interioritzat sota el nom de &#8220;Pantalla Global&#8221;. D&#8217;aquesta manera es va aplanar el cam\u00ed al poder que s&#8217;exerceix des de la ind\u00fastria de la imatge normalitzant la nostra servitud, encara que segueixen existint pantalles dissidents que acaben acte-dividint-se a l&#8217;interior de la pantalla dominant.<\/p>\n<p>Avui, en els nostres ordinadors coexisteixen i es superposen m\u00faltiples finestres posant en perill la perspectiva en la qual s&#8217;ha basat la nostra percepci\u00f3 visual del m\u00f3n (i tamb\u00e9 de les arts). La nostra finestra, oberta ja a la virtualitat, proposa una nova l\u00f2gica de la visualitat, una nova arquitectura no nom\u00e9s de l&#8217;espai, sin\u00f3 del temps.<\/p>\n<div id=\"attachment_34183\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-34183\" decoding=\"async\" class=\"wp-image-34183 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/4.-Video-is-TV-Muntadas-1.jpg\" alt=\"\" width=\"800\" height=\"661\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/4.-Video-is-TV-Muntadas-1.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/4.-Video-is-TV-Muntadas-1-484x400.jpg 484w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/4.-Video-is-TV-Muntadas-1-768x635.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-34183\" class=\"wp-caption-text\"><em>Video is tv?<\/em> (1989), Antoni Muntadas<\/p><\/div>\n<p><strong>++++<\/strong><\/p>\n<p>Veiem la projecci\u00f3 <em>V\u00eddeo is televisi\u00f3?<\/em> (05&#8217;34&#8221;, 1989) de Muntadas. El primer que ens crida l&#8217;atenci\u00f3 \u00e9s l&#8217;aparent error expositiu que mostra projectada una pe\u00e7a de v\u00eddeo monocanal ideada per veure&#8217;s en una televisi\u00f3, per\u00f2 immediatament ho entenem com una llic\u00e8ncia curatorial. Reparem en les imatges de <em>Poltergeist<\/em> o de <em>Videodrome<\/em> i en els conceptes que van apareixent: fragment, context &#8230; Pensem qu\u00e8 hauria passat si la projecci\u00f3 es don\u00e9s sobre una pantalla plana o sobre una televisi\u00f3 com les que apareixen en el propi v\u00eddeo. La q\u00fcesti\u00f3 es complica encara m\u00e9s quan la banda sonora de Glenn Branca s&#8217;accelera mentre es multipliquen les pantalles de televisi\u00f3 cap al final de la pe\u00e7a, un recurs de muntatge realitzat abans que exist\u00eds l&#8217;efecte &#8220;mosaic&#8221; d&#8217;edici\u00f3 digital. D&#8217;un sol cop veiem en la projecci\u00f3 el resum de la dissoluci\u00f3 de la imatge en el &#8220;flux de la vida&#8221;<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34196_1('footnote_plugin_reference_34196_1_5');\" onkeypress=\"footnote_moveToReference_34196_1('footnote_plugin_reference_34196_1_5');\" ><sup id=\"footnote_plugin_tooltip_34196_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34196_1_5\" class=\"footnote_tooltip\">Kracauer, S (1996), <i>Teor\u00eda del cine. La redenci\u00f3n de la realidad f\u00edsica.<\/i> Paid\u00f3s: Barcelona.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34196_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_34196_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, del seu liq\u00fcefacci\u00f3 conceptual en el formal o del seu deformaci\u00f3 en el conceptual.<\/p>\n<div id=\"attachment_34189\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-34189\" decoding=\"async\" class=\"wp-image-34189 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/5.-Asyl-3175.-Kurt-Kren2.jpg\" alt=\"\" width=\"800\" height=\"619\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/5.-Asyl-3175.-Kurt-Kren2.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/5.-Asyl-3175.-Kurt-Kren2-517x400.jpg 517w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/5.-Asyl-3175.-Kurt-Kren2-768x594.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-34189\" class=\"wp-caption-text\"><em>Asyl 31\/75<\/em> (1975), Kurt Kren<\/p><\/div>\n<p><strong>++++<\/strong><\/p>\n<p>A <em>Asyl 31\/75<\/em>\u00a0(08 &#8216;, 1975) Kurt Kren mostra en una sola pantalla les transformacions d&#8217;un mateix paisatge durant vint-i-un dies no consecutius repartits durant un any. Un experiment fotogr\u00e0fic d&#8217;exposicions m\u00faltiples i imatges segmentades en qu\u00e8 temps i espai es solapen i coexisteixen gr\u00e0cies, entre altres t\u00e8cniques, a l&#8217;aplicaci\u00f3 en la lent d&#8217;un adhesiu amb forats que per moments crea la m\u00e0gica il\u00b7lusi\u00f3 d&#8217;un trencaclosques que ha de ser muntat en la pr\u00f2pia pantalla. Amb cada nou pla la pantalla va completant fins descobrir-nos un paisatge en el qual conviuen les estacions de l&#8217;any i les seves diferents qualitats de llum, la neu, el sol, la tardor i en el qual la forma cinematogr\u00e0fica es rendeix a la contemplaci\u00f3 del temps. En aquesta pe\u00e7a, el proc\u00e9s \u00e9s el contrari: la pantalla es construeix a partir dels fragments. La pantalla torna a ser una, encara que la imatge hagi hagut de travessar una infinitat de perip\u00e8cies.<\/p>\n<p><strong>++++<\/strong><\/p>\n<p>Suposem que cada un d&#8217;aquests fragments s&#8217;obre en una finestra emergent i que, en un necessari exercici d&#8217;imaginaci\u00f3, podem veure el seu revers. Advertim uns fils vermells que semblen connectar idees d&#8217;un fragment amb un altre, que les embasten amb les cites i les notes a peu. Per\u00f2 veiem que el major nombre d&#8217;aquests fils queda penjant, suspesos a l&#8217;espera d&#8217;un enlla\u00e7 amb altres idees i amb altres cites. Sens dubte, la responsabilitat de connectar aquests fils amb altres finestres o pantalles queda sota la seva responsabilitat.<\/p>\n<p>&nbsp;<\/p>\n<p>(Imatge destacada: <em>Video is tv?<\/em> (1989), Antoni Muntadas).<\/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_34196_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_34196_1();\">[<a id=\"footnote_reference_container_collapse_button_34196_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_34196_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_34196_1('footnote_plugin_tooltip_34196_1_1');\"><a id=\"footnote_plugin_reference_34196_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">\u00a0Lipovetsky, G. y Serroy, J. (2009). <i>La Pantalla Global. Cultura medi\u00e1tica y cine en la era hipermoderna<\/i>. Anagrama: Barcelona.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34196_1('footnote_plugin_tooltip_34196_1_2');\"><a id=\"footnote_plugin_reference_34196_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">La refer\u00e8ncia visual per aquest paisatge la trobo en la instal\u00b7laci\u00f3 de Hans Haacke <em>Germania<\/em>, per al pavell\u00f3 alemany a la Biennal de Ven\u00e8cia de 1993, en qu\u00e8 feia refer\u00e8ncia expl\u00edcita a les arrels del pavell\u00f3 en les pol\u00edtiques de l&#8217;Alemanya nazi.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34196_1('footnote_plugin_tooltip_34196_1_3');\"><a id=\"footnote_plugin_reference_34196_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">Ranci\u00e8re, J.(2002), <i>La divisi\u00f3n de lo sensible. Est\u00e9tica y pol\u00edtica<\/i>. Consorcio Salamanca.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34196_1('footnote_plugin_tooltip_34196_1_4');\"><a id=\"footnote_plugin_reference_34196_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">Per a m\u00e9s informaci\u00f3 sobre aquest tema consultar &#8220;La colonitzaci\u00f3 de les pantalles. Sobre l&#8217;exposici\u00f3 Pantalla Global &#8220;, de Jorge Luis Marzo. publicat a\u00a0<a href=\"https:\/\/www.soymenos.net\/colonizacion_pantallas.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"footnote_url_wrap\">https:\/\/www.soymenos.net\/colonizacion_pantallas.pdf<\/span><\/a><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34196_1('footnote_plugin_tooltip_34196_1_5');\"><a id=\"footnote_plugin_reference_34196_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\">Kracauer, S (1996), <i>Teor\u00eda del cine. La redenci\u00f3n de la realidad f\u00edsica.<\/i> Paid\u00f3s: Barcelona.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_34196_1() { jQuery('#footnote_references_container_34196_1').show(); jQuery('#footnote_reference_container_collapse_button_34196_1').text('\u2212'); } function footnote_collapse_reference_container_34196_1() { jQuery('#footnote_references_container_34196_1').hide(); jQuery('#footnote_reference_container_collapse_button_34196_1').text('+'); } function footnote_expand_collapse_reference_container_34196_1() { if (jQuery('#footnote_references_container_34196_1').is(':hidden')) { footnote_expand_reference_container_34196_1(); } else { footnote_collapse_reference_container_34196_1(); } } function footnote_moveToReference_34196_1(p_str_TargetID) { footnote_expand_reference_container_34196_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_34196_1(p_str_TargetID) { footnote_expand_reference_container_34196_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>Un text pot teixir fraccions de discursos contradictoris i presentar-les com un raonament coherent. 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