{"id":34237,"date":"2021-11-15T07:30:29","date_gmt":"2021-11-15T06:30:29","guid":{"rendered":"http:\/\/a-desk.org\/?p=34237"},"modified":"2023-07-09T14:33:43","modified_gmt":"2023-07-09T12:33:43","slug":"narraciones-fragmentadas-y-heterotopias","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/narraciones-fragmentadas-y-heterotopias\/","title":{"rendered":"Narracions fragmentades I heterotopies"},"content":{"rendered":"<p>El v\u00eddeo mostra dues pantalles. A la de l&#8217;esquerra, se succeeixen els rostres de persones que miren alarmades cap a la c\u00e0mera, o b\u00e9 riuen, es consulten entre elles, es queden bocabadades. A la pantalla de la dreta apareix un home penjat. <a href=\"https:\/\/0100101110101101.org\/no-fun\/\" target=\"_blank\" rel=\"noopener\"><i>No Fun<\/i><\/a><i> <\/i> (2010) \u00e9s una performance dels artistes Eva i Franco Mattes realitzada en Chatroulette<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_1');\" onkeypress=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_1');\" ><sup id=\"footnote_plugin_tooltip_34237_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34237_1_1\" class=\"footnote_tooltip\">Chatroulette va ser creat per Andrej Ternowskij al novembre de 2009 i va adquirir notorietat el 2010 per l&#8217;\u00fas que feien els usuaris per difondre actes obscens. <span class=\"footnote_url_wrap\">https:\/\/chatroulette.com\/<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34237_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_34237_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, un lloc web que aparella de forma aleat\u00f2ria les c\u00e0meres web dels seus usuaris. Els artistes van aprofitar aquesta plataforma de socialitzaci\u00f3 i entreteniment per a crear una trobada inesperada amb un succ\u00e9s tr\u00e0gic, registrant les dues imatges en directe tal com les disposa la interf\u00edcie, una al costat de l&#8217;altra. Sense fer cap manipulaci\u00f3 m\u00e9s enll\u00e0 de la ficci\u00f3 creada amb un actor penjant d&#8217;una falsa soga, aconsegueixen crear un efecte de pantalla dividida similar a l&#8217;empleat en escenes cinematogr\u00e0fiques en qu\u00e8 la tensi\u00f3 narrativa es crea per mitj\u00e0 de la comunicaci\u00f3 entre dos personatges en llocs diferents, sent un incapa\u00e7 d&#8217;atendre o salvar l&#8217;altre d&#8217;un perill imminent<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_2');\" onkeypress=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_2');\" ><sup id=\"footnote_plugin_tooltip_34237_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34237_1_2\" class=\"footnote_tooltip\">Precisament, aquesta situaci\u00f3 \u00e9s la que es narra a la pel\u00b7l\u00edcula muda <em>Suspens<\/em> (Lois Weber i Phillips Smalley, 1913), una de les primeres a emprar aquesta t\u00e8cnica.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34237_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_34237_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>Eva i Franco Mattes han treballat al llarg de la seva carrera en l&#8217;elaboraci\u00f3 de ficcions a trav\u00e9s de la manipulaci\u00f3 de mitjans de comunicaci\u00f3<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_3');\" onkeypress=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_3');\" ><sup id=\"footnote_plugin_tooltip_34237_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34237_1_3\" class=\"footnote_tooltip\">A finals dels anys noranta, es donen a con\u00e8ixer amb la creaci\u00f3 d&#8217;un lloc web fals del Vatic\u00e0 i la c\u00f2pia de llocs web d&#8217;altres artistes. Posteriorment creen ficcions m\u00e9s elaborades,&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_3');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34237_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_34237_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, \u00a0per\u00f2 en aquesta ocasi\u00f3 fan servir clarament un llenguatge cinematogr\u00e0fic que els portar\u00e0 a explorar recursos similars<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_4');\" onkeypress=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_4');\" ><sup id=\"footnote_plugin_tooltip_34237_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34237_1_4\" class=\"footnote_tooltip\">A\u00a0Emily &#8216;s Video (2012), els artistes duen a terme una performance col\u00b7laborativa en la qual diverses persones es graven reaccionant a un suposat v\u00eddeo de contingut escabr\u00f3s (potser una&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_4');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34237_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_34237_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.\u00a0Aqu\u00ed la pr\u00f2pia interf\u00edcie de Chatroulette funciona com un <em>readymade<\/em> del cl\u00e0ssic <em>split screen<\/em> que tantes vegades s&#8217;ha emprat en films i s\u00e8ries de televisi\u00f3 per mostrar a dues persones parlant per tel\u00e8fon. El que originalment suposava recordar a l&#8217;espectador que estava veient una ficci\u00f3 elaborada i editada, trencant amb la pretensi\u00f3 de realitat de la imatge que ocupa tota la pantalla, es converteix en un registre vera\u00e7 d&#8217;una forma de comunicaci\u00f3 quotidiana. I \u00e9s precisament el car\u00e0cter mund\u00e0 de la videoconfer\u00e8ncia el que permet crear la trobada que busquen els artistes, amb usuaris escollits a l&#8217;atzar (principalment adolescents) que es presten a una activitat d&#8217;oci. La pe\u00e7a dels Mattes ens porta per tant a considerar tres aspectes de l&#8217;\u00fas de la pantalla dividida per part d&#8217;artistes que treballen amb mitjans digitals avui en dia: d&#8217;una banda, la combinaci\u00f3 de dos o m\u00e9s espais geogr\u00e0ficament distants en un \u00fanic espai que no \u00e9s cap d&#8217;ells, \u00e9s a dir, una heterotopia<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_5');\" onkeypress=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_5');\" ><sup id=\"footnote_plugin_tooltip_34237_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34237_1_5\" class=\"footnote_tooltip\">Michel Foucault (1967) \u201cDes \u00e9spaces autres\u201d, \u00a0<i>Architecture\/mouvement\/Continuit\u00e9<\/i>, n\u00ba5 (octubre 1984), p.46-49<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34237_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_34237_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>; d&#8217;altra banda, el joc amb el llenguatge cinematogr\u00e0fic per elaborar una narraci\u00f3 que es desenvolupa sense control dels seus creadors, a partir d&#8217;elements trobats; i finalment, l&#8217;\u00fas de la juxtaposici\u00f3 per crear tensions entre imatges m\u00e9s o menys dispars, que es nodreixen de significats gr\u00e0cies a les comparacions que s&#8217;estableixen entre elles.<\/p>\n<div id=\"attachment_34166\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-34166\" decoding=\"async\" class=\"wp-image-34166 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG01-No-Fun.png\" alt=\"\" width=\"800\" height=\"431\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG01-No-Fun.png 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG01-No-Fun-595x321.png 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG01-No-Fun-768x414.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-34166\" class=\"wp-caption-text\">Eva y Franco Mattes, <em>No Fun<\/em> (2010)<\/p><\/div>\n<p>La dist\u00e0ncia f\u00edsica que separa els usuaris de Chatroulette del fals penjat a\u00a0<a href=\"https:\/\/0100101110101101.org\/no-fun\/\" target=\"_blank\" rel=\"noopener\"><i>No Fun<\/i><\/a> \u00e9s un element clau en les seves reaccions, que transiten entre la burla, la incredulitat i la desesperaci\u00f3 per no poder fer res. Per afegir realisme a l&#8217;escena, els artistes van deixar un ordinador enc\u00e8s que mostra la imatge de l&#8217;usuari a la cantonada inferior dreta, introduint aix\u00ed a l&#8217;espectador en la pr\u00f2pia imatge que est\u00e0 contemplant. Aquest gest s&#8217;afegeix una <em>mise en ab\u00eeme<\/em> que refor\u00e7a la concepci\u00f3 de la pantalla de l&#8217;ordinador com un espai que acull un nombre infinit de llocs. Aquesta idea es troba perfectament il\u00b7lustrada en el treball de Joe Hamilton, els v\u00eddeos combinen espais naturals i arquitect\u00f2nics en din\u00e0miques composicions visuals que q\u00fcestionen la separaci\u00f3 entre el natural i l&#8217;artificial, la realitat i la ficci\u00f3. A <a href=\"https:\/\/www.joehamilton.info\/videos.php#hyper-geography\" target=\"_blank\" rel=\"noopener\"><i>Hyper Geography <\/i><\/a> (2011), la seq\u00fc\u00e8ncia inicial ens introdueix en la pantalla d&#8217;un <em>smartphone<\/em>, que passa a ser la finestra a trav\u00e9s de la qual observem un m\u00f3n compost per fragments d&#8217;imatges que s&#8217;integren en glaceres i cadenes de muntanyes. Format en la cultura del collage digital, Hamilton s&#8217;ha inspirat en les possibilitats que ofereixen plataformes com Tumblr per a la creaci\u00f3 i difusi\u00f3 de continguts a la web, desenvolupant el seu treball en base a imatges trobades. Amb tot, en v\u00eddeos posteriors incorpora recursos del llenguatge cinematogr\u00e0fic, notablement a\u00a0<a href=\"https:\/\/www.joehamilton.info\/videos.php#merge-nodes\" target=\"_blank\" rel=\"noopener\"><i>Merge Nodes<\/i><\/a> (2016), on explora la t\u00e8cnica de pantalla dividida, el canvi d&#8217;enquadrament i les transicions entre escenes filmades en diferents llocs del planeta.<\/p>\n<div id=\"attachment_34169\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-34169\" decoding=\"async\" class=\"wp-image-34169 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG02-Hyper-Geography.png\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG02-Hyper-Geography.png 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG02-Hyper-Geography-595x337.png 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG02-Hyper-Geography-768x435.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-34169\" class=\"wp-caption-text\">Joe Hamilton, <em>Hyper Geography<\/em> (2011)<\/p><\/div>\n<p>L&#8217;heterotopia tamb\u00e9 pren forma, tot i que d&#8217;una manera m\u00e9s subtil, en la instal\u00b7laci\u00f3 <a href=\"https:\/\/thepiratecinema.com\/\" target=\"_blank\" rel=\"noopener\"><i>The Pirate Cinema <\/i><\/a> (2012-2014) de Nicolas Maigret. Composta per tres pantalles en qu\u00e8 es projecten arxius obtinguts en temps real en xarxes P2P, la pe\u00e7a es tradueix en un collage cinematogr\u00e0fic de breus fragments de films piratejats que els usuaris comparteixen de manera privada. Notablement, l&#8217;artista decideix mostrar aquesta r\u00e0pida successi\u00f3 d&#8217;imatges no en una \u00fanica pantalla, sin\u00f3 en tres, construint d&#8217;aquesta manera un tr\u00edptic que tamb\u00e9 es pot concebre com una narraci\u00f3 en <em>split screen<\/em>. La dist\u00e0ncia f\u00edsica es d\u00f3na en aquest cas entre els usuaris que comparteixen els arxius, representats per les adreces IP dels seus ordinadors i el pa\u00eds en qu\u00e8 es troben. La comunicaci\u00f3 es d\u00f3na en aquest cas entre m\u00e0quines i no persones, sent els espectadors testimonis d&#8217;una multitud d&#8217;intercanvis que es donen de forma simult\u00e0nia a nivell global. La pe\u00e7a de Maigret tamb\u00e9 es presta a ser interpretada en forma de muntatge, ja que la juxtaposici\u00f3 aleat\u00f2ria de les imatges ens porta a construir una narraci\u00f3, per m\u00e9s inversemblant que pugui ser.<\/p>\n<div id=\"attachment_34160\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-34160\" decoding=\"async\" class=\"wp-image-34160 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG03-pirate-cinema.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG03-pirate-cinema.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG03-pirate-cinema-595x335.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG03-pirate-cinema-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-34160\" class=\"wp-caption-text\">Nicolas Maigret, <em>The Pirate Cinema<\/em> (2012-2014)<\/p><\/div>\n<p>Com ja anunciava Gene Youngblood el 1970<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_6');\" onkeypress=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_6');\" ><sup id=\"footnote_plugin_tooltip_34237_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34237_1_6\" class=\"footnote_tooltip\">Gene Youngblood (1970). <i>Expanded Cinema<\/i>. Nueva York: P. Dutton &amp; Co., Inc., p.191.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34237_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_34237_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, l&#8217;ordinador no \u00e9s una simple eina, sin\u00f3 que es converteix en un participant actiu en el proc\u00e9s creatiu, obrint noves possibilitats a la creaci\u00f3 audiovisual. L&#8217;obra de Maigret introdueix l&#8217;automatitzaci\u00f3 del muntatge i la selecci\u00f3 aleat\u00f2ria del contingut. Gr\u00e9gory Chatonsky ha explorat al llarg de diverses d\u00e8cades les possibilitats d&#8217;aquest &#8220;cinema expandit&#8221; a qu\u00e8 es referia Youngblood amb treballs que empren coneguts llargmetratges com a mat\u00e8ria primera. A \u00a0<i><a href=\"http:\/\/chatonsky.net\/11-2\/\" target=\"_blank\" rel=\"noopener\">1+1<\/a> <\/i> (2004), el film <em>Nouvelle Vague<\/em> (Jean-Luc Godard, 1990) \u00e9s presentat en una pantalla dividida en dues. Diferents escenes es reprodueixen de forma aleat\u00f2ria en ambd\u00f3s costats, generant una juxtaposici\u00f3 d&#8217;espais, situacions i di\u00e0legs. A\u00a0<i><a href=\"http:\/\/chatonsky.net\/1-1\/\" target=\"_blank\" rel=\"noopener\">1-1<\/a><\/i> (2004) la famosa escena de la dutxa al film <em>Psycho<\/em> (Alfred Hitchcock, 1960) \u00e9s sotmesa a un muntatge aleatori, mentre que <a href=\"http:\/\/chatonsky.net\/11-3\/\" target=\"_blank\" rel=\"noopener\"><i>1=1<\/i><\/a> (2004) mostra en un <em>split screen<\/em> horitzontal fragments del film<em> Lost Highway<\/em> ( David Lynch, 1997), escollits en funci\u00f3 de l&#8217;aparici\u00f3 d&#8217;un personatge i el seu doble, oferint a l&#8217;espectador la possibilitat de reproduir una o altra escena. Tots aquests experiments narratius es basen en la possibilitat de generar un muntatge infinit, per mitj\u00e0 de la combinaci\u00f3 aleat\u00f2ria de seq\u00fc\u00e8ncies i la multiplicaci\u00f3 de les imatges que, notablement en el cas de les obres de Chatonsky, condueixen a un altre \u00fas habitual de la t\u00e8cnica de pantalla dividida, que \u00e9s la combinaci\u00f3 de diferents punts de vista sobre una mateixa escena.<\/p>\n<div id=\"attachment_34163\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-34163\" decoding=\"async\" class=\"wp-image-34163 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG04-Chatonsky.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG04-Chatonsky.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG04-Chatonsky-533x400.jpg 533w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/10\/FIG04-Chatonsky-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-34163\" class=\"wp-caption-text\">Gr\u00e9gory Chatonsky, <em>1=1<\/em> (2004)<\/p><\/div>\n<p>Aquestes obres ens ofereixen una mostra de les possibilitats creatives de la pantalla dividida en el context de la r\u00e0pida proliferaci\u00f3 d&#8217;imatges a escala global, que ens porta a concebre tots els espais com potencials heterotopies: el nostre entorn \u00e9s sempre susceptible de connectar amb altres espais ( remots o ficticis) a trav\u00e9s de les pantalles dels nostres dispositius digitals i tamb\u00e9 de ser observat des de m\u00faltiples perspectives. De la mateixa manera en qu\u00e8 el <em>split screen<\/em> acaba amb el que Peter Greenaway anomena &#8220;la tirania del marc&#8221;<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_7');\" onkeypress=\"footnote_moveToReference_34237_1('footnote_plugin_reference_34237_1_7');\" ><sup id=\"footnote_plugin_tooltip_34237_1_7\" class=\"footnote_plugin_tooltip_text\">[7]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34237_1_7\" class=\"footnote_tooltip\">Peter Greenaway (2003) &#8220;Toward a re-invention of cinema&#8221;. <i>Variety,<\/i> 1 octubre. <span class=\"footnote_url_wrap\">https:\/\/variety.com\/2003\/voices\/columns\/toward-a-re-invention-of-cinema-1117893306\/<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34237_1_7').tooltip({ tip: '#footnote_plugin_tooltip_text_34237_1_7', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, la inesgotable pluralitat, al costat del potencial generatiu que aporten els ordinadors, fa que la narraci\u00f3 mai pugui ser \u00fanica i per tant acabada. Sempre ser\u00e0 un fragment d&#8217;una hist\u00f2ria m\u00e9s llarga i complexa, o b\u00e9 una d&#8217;entre infinites maneres d&#8217;explicar-la.<\/p>\n<p>&nbsp;<\/p>\n<p>(Imatge destacada: Nicolas Maigret, <em>The Pirate Cinema (2012-2014)<\/em>)<\/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_34237_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_34237_1();\">[<a id=\"footnote_reference_container_collapse_button_34237_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_34237_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_34237_1('footnote_plugin_tooltip_34237_1_1');\"><a id=\"footnote_plugin_reference_34237_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">Chatroulette va ser creat per Andrej Ternowskij al novembre de 2009 i va adquirir notorietat el 2010 per l&#8217;\u00fas que feien els usuaris per difondre actes obscens. <span class=\"footnote_url_wrap\">https:\/\/chatroulette.com\/<\/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_34237_1('footnote_plugin_tooltip_34237_1_2');\"><a id=\"footnote_plugin_reference_34237_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">Precisament, aquesta situaci\u00f3 \u00e9s la que es narra a la pel\u00b7l\u00edcula muda <em>Suspens<\/em> (Lois Weber i Phillips Smalley, 1913), una de les primeres a emprar aquesta t\u00e8cnica.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34237_1('footnote_plugin_tooltip_34237_1_3');\"><a id=\"footnote_plugin_reference_34237_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">A finals dels anys noranta, es donen a con\u00e8ixer amb la creaci\u00f3 d&#8217;un lloc web fals del Vatic\u00e0 i la c\u00f2pia de llocs web d&#8217;altres artistes. Posteriorment creen ficcions m\u00e9s elaborades, com\u00a0<i>Nikeground <\/i>(2003) i\u00a0<i>United We Stand <\/i>(2005).<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34237_1('footnote_plugin_tooltip_34237_1_4');\"><a id=\"footnote_plugin_reference_34237_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">A<span style=\"font-size: 16px;\">\u00a0<\/span><em><span style=\"font-size: 16px;\">Emily <\/span><span style=\"font-size: 16px;\">&#8216;s <\/span><span style=\"font-size: 16px;\">Video <\/span><\/em><span style=\"font-size: 16px;\">(<\/span><span style=\"font-size: 16px;\">2012<\/span><span style=\"font-size: 16px;\">)<\/span><span style=\"font-size: 16px;\">, els <\/span><span style=\"font-size: 16px;\">artistes <\/span><span style=\"font-size: 16px;\">duen a terme una <\/span><span style=\"font-size: 16px;\">performance <\/span><span style=\"font-size: 16px;\">col\u00b7laborativa <\/span><span style=\"font-size: 16px;\">en la qual <\/span><span style=\"font-size: 16px;\">diverses <\/span><span style=\"font-size: 16px;\">persones <\/span><span style=\"font-size: 16px;\">es <\/span><span style=\"font-size: 16px;\">graven <\/span><span style=\"font-size: 16px;\">reaccionant <\/span><span style=\"font-size: 16px;\">a un suposat <\/span><span style=\"font-size: 16px;\">v\u00eddeo <\/span><span style=\"font-size: 16px;\">de contingut <\/span><span style=\"font-size: 16px;\">escabr\u00f3s <\/span><span style=\"font-size: 16px;\">(<\/span><span style=\"font-size: 16px;\">potser una <\/span><em><span style=\"font-size: 16px;\">snuff <\/span><span style=\"font-size: 16px;\">movie<\/span><\/em><span style=\"font-size: 16px;\">), que els <\/span><span style=\"font-size: 16px;\">espectadors <\/span><span style=\"font-size: 16px;\">no poden veure <\/span><span style=\"font-size: 16px;\">i <\/span><span style=\"font-size: 16px;\">han d&#8217;imaginar <\/span><span style=\"font-size: 16px;\">a partir de les <\/span><span style=\"font-size: 16px;\">expressions <\/span><span style=\"font-size: 16px;\">facials <\/span><span style=\"font-size: 16px;\">dels que <\/span><span style=\"font-size: 16px;\">participen <\/span><span style=\"font-size: 16px;\">en la pe\u00e7a.<\/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_34237_1('footnote_plugin_tooltip_34237_1_5');\"><a id=\"footnote_plugin_reference_34237_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\">Michel Foucault (1967) \u201cDes \u00e9spaces autres\u201d, \u00a0<i>Architecture\/mouvement\/Continuit\u00e9<\/i>, n\u00ba5 (octubre 1984), p.46-49<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34237_1('footnote_plugin_tooltip_34237_1_6');\"><a id=\"footnote_plugin_reference_34237_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\">Gene Youngblood (1970). <i>Expanded Cinema<\/i>. Nueva York: P. Dutton &amp; Co., Inc., p.191.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34237_1('footnote_plugin_tooltip_34237_1_7');\"><a id=\"footnote_plugin_reference_34237_1_7\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>7<\/a><\/th> <td class=\"footnote_plugin_text\">Peter Greenaway (2003) &#8220;Toward a re-invention of cinema&#8221;. <i>Variety,<\/i> 1 octubre. <span class=\"footnote_url_wrap\">https:\/\/variety.com\/2003\/voices\/columns\/toward-a-re-invention-of-cinema-1117893306\/<\/span><\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_34237_1() { jQuery('#footnote_references_container_34237_1').show(); jQuery('#footnote_reference_container_collapse_button_34237_1').text('\u2212'); } function footnote_collapse_reference_container_34237_1() { jQuery('#footnote_references_container_34237_1').hide(); jQuery('#footnote_reference_container_collapse_button_34237_1').text('+'); } function footnote_expand_collapse_reference_container_34237_1() { if (jQuery('#footnote_references_container_34237_1').is(':hidden')) { footnote_expand_reference_container_34237_1(); } else { footnote_collapse_reference_container_34237_1(); } } function footnote_moveToReference_34237_1(p_str_TargetID) { footnote_expand_reference_container_34237_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_34237_1(p_str_TargetID) { footnote_expand_reference_container_34237_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>El v\u00eddeo mostra dues pantalles. 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