{"id":34378,"date":"2021-11-29T07:30:26","date_gmt":"2021-11-29T06:30:26","guid":{"rendered":"http:\/\/a-desk.org\/?p=34378"},"modified":"2023-07-09T14:33:42","modified_gmt":"2023-07-09T12:33:42","slug":"split-screen","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/split-screen\/","title":{"rendered":"SPLIT SCREEN"},"content":{"rendered":"<p>En una mena de vaticini, el 2018 Aneesh Chaganty va estrenar <em>Searching<\/em>, un pioner thriller desenvolupat \u00edntegrament a la pantalla de l&#8217;ordinador. A les m\u00faltiples carpetes i finestres que el personatge anava obrint, s&#8217;encavalcaven simult\u00e0niament converses de xat, videoconfer\u00e8ncies de treball, videotrucades amb la fam\u00edlia, v\u00eddeos casolans de les vacances, enregistraments secrets, noticiaris i navegacions per la interf\u00edcie. Aquest assortiment de formats assenyalava la multiplicitat de c\u00e0meres que estan a la nostra disposici\u00f3 a la vida quotidiana, i la mirada hiperactiva, dispersa i totalitzadora amb qu\u00e8 intentem atendre els continus <em>inputs<\/em> visuals que sol\u00b7liciten el nostre inter\u00e8s. Tan sols un any despr\u00e9s, al nostre dia a dia, la pantalla partida va arribar al punt m\u00e9s \u00e0lgid.<\/p>\n<p>Si b\u00e9 ja havia estat un recurs altament emprat als videoclips, als videojocs i per descomptat al cinema, pel seu potencial narratiu i atractiu, ha estat durant aquests dos anys de confinament, amb el teletreball, classes virtuals, videotrucades i videoconfer\u00e8ncies, que \u00e9s m\u00e9s present que abans. El que ens porta a veure com aquesta forma de representaci\u00f3 i mediaci\u00f3 amb el mut ens afecta.<\/p>\n<p>Hem comprovat que, a difer\u00e8ncia de la imatge fixa i \u00fanica, l&#8217;<em>split screen <\/em>\u2014especialment el m\u00e9s complex, en format mosaic o multipantalla\u2014 ens condueix a un exc\u00e9s d&#8217;imatges, a un col\u00b7lapse d&#8217;elecci\u00f3 a la sobreproducci\u00f3 i a un malbaratament. L&#8217;ull nom\u00e9s pot mantenir l&#8217;atenci\u00f3 en un enquadrament, de manera que mentre mirem de banda, els altres enquadraments es desaprofiten. Aquesta relaci\u00f3 entre l&#8217;exc\u00e9s, el consum i el malbaratament del material forma part del que Nadia Bozak identifica com a din\u00e0miques de la cultura postindustrial, i que es reflecteixen a les c\u00e0meres de videovigil\u00e0ncia: una quantitat il\u00b7limitada de contingut audiovisual que, en el millor dels casos, no caldr\u00e0 visualitzar despr\u00e9s del seu registre<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34378_1('footnote_plugin_reference_34378_1_1');\" onkeypress=\"footnote_moveToReference_34378_1('footnote_plugin_reference_34378_1_1');\" ><sup id=\"footnote_plugin_tooltip_34378_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34378_1_1\" class=\"footnote_tooltip\">BOZAK, Nadia (2008), \u00abFour Cameras are Better than One: Division as Excess in Mike Figgis\u2019 Timecode\u00bb.\u00a0En:\u00a0Refractory: Journal of Entertainment and Media,\u00a0vol. 14. University of Melbourne,&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_34378_1('footnote_plugin_reference_34378_1_1');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34378_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_34378_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Igual que en la realitat f\u00edsica, no ho podem abastar tot. El <em>cross-cuting<\/em> el fem amb la nostra mirada que traslladem d&#8217;un pla a un altre de la pantalla. Exercim una edici\u00f3 mental en decidir l&#8217;ordre i el temps que dediquem a cadascuna de les seccions. Richard Fleischer en diu \u00abfer treballar l&#8217;audi\u00e8ncia\u00bb, en desafiar-nos a assimilar m\u00e9s informaci\u00f3 que en un enquadrament \u00fanic. Requereix un comprom\u00eds actiu, se&#8217;ns convida a establir connexions, correlacions i cercar un ordre entre els plans simultanis que competeixen entre si. Aquest recurs sovint trenca amb el principi de transpar\u00e8ncia f\u00edlmica, en evidenciar la naturalesa artificial de la imatge: un enquadrament dins d&#8217;un enquadrament crida l&#8217;atenci\u00f3 sobre l&#8217;acte deliberat d&#8217;enquadrar. Davant d&#8217;aix\u00f2, als tradicionals <em>splits screens<\/em> l&#8217;espectador susp\u00e8n temporalment la seva credulitat. No obstant, en la simulaci\u00f3 de videotrucades \u2014com en la no gaire afortunada <em>Host<\/em> (Rob Savage, 2020)\u2014 passa el contrari: el cinema esdev\u00e9 m\u00e9s real.<\/p>\n<p>El llen\u00e7-pantalla ha estat finestra oberta des d&#8217;on treure el cap al m\u00f3n, des que Alberti al segle XV el descriv\u00eds com a tal. Aquesta manera de comprendre la representaci\u00f3 va tenir un gran \u00e8xit entre els renaixentistes que a trav\u00e9s de la perspectiva tradu\u00efen la realitat al pla bidimensional, i encara que ha patit transformacions tan significatives com el cubisme i el collage dels dadaistes de principis del segle XX, i pr\u00e8viament a l&#8217;antiguitat cl\u00e0ssica i medieval els d\u00edptics, tr\u00edptics i altres pol\u00edptics estaven a l&#8217;ordre del dia, podr\u00edem aventurar-nos a imaginar que ha estat en aquests darrers anys que el vidre de la finestra-pantalla ha volat a trossos per mostrar-nos en les seves esquirles altres formes de representaci\u00f3. Potser el split screen \u00e9s un dels recursos cinematogr\u00e0fics paradigma de l&#8217;era actual a les societats digitals. Per aix\u00f2, com a editora convidada del mes de novembre, em sembla oport\u00fa dedicar el n\u00famero a reflexionar sobre la pantalla partida amb quatre professionals de l&#8217;\u00e0mbit del cinema, l&#8217;audiovisual, el videoart i l&#8217;art digital com s\u00f3n <a href=\"http:\/\/a-desk.org\/ca\/magazine\/split-and-explote-la-pantalla-es-un-campo-de-minas\/\">Arturo\/fito Rodr\u00edguez<\/a>, <a href=\"http:\/\/a-desk.org\/ca\/magazine\/de-la-ventana-al-espejo\/\" target=\"_blank\" rel=\"noopener\">Mariela Cantu<\/a>, <a href=\"https:\/\/a-desk.org\/ca\/magazine\/narraciones-fragmentadas-y-heterotopias\/\" target=\"_blank\" rel=\"noopener\">Pau Waelder<\/a> i <a href=\"http:\/\/a-desk.org\/ca\/magazine\/una-fertil-tension-dialectica\/\">Ingrid Guardiola<\/a>.<\/p>\n<p>Haur\u00e0 canviat la nostra fenomenologia del veure? <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34378_1('footnote_plugin_reference_34378_1_2');\" onkeypress=\"footnote_moveToReference_34378_1('footnote_plugin_reference_34378_1_2');\" ><sup id=\"footnote_plugin_tooltip_34378_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34378_1_2\" class=\"footnote_tooltip\"> \u00abFenomenologia del veure\u00bb ha estat encunyat per fito Rodr\u00edguez i citat per Ingrid Guardiola en el seu text. <\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34378_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_34378_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>\u00a0Ser\u00e0 la pantalla partida una heterotopia?<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34378_1('footnote_plugin_reference_34378_1_3');\" onkeypress=\"footnote_moveToReference_34378_1('footnote_plugin_reference_34378_1_3');\" ><sup id=\"footnote_plugin_tooltip_34378_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34378_1_3\" class=\"footnote_tooltip\">Recupera i actualitza Pau Waelder en el seu text la \u00abheterotopia\u00bb proposada per Foucault.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34378_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_34378_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> Entenent aquesta com un espai de presentaci\u00f3 i contemplaci\u00f3 on trobar-se, i que no representa el propi lloc que habitem, sin\u00f3 un de diferent, virtual i, per tant, inexistent?<\/p>\n<p>&nbsp;<\/p>\n<p>(Imatge destacada: Fotograma del film <em>Searching<\/em> dirigit per Aneesh Chaganty el 2018).<\/p>\n<p>&nbsp;<\/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_34378_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_34378_1();\">[<a id=\"footnote_reference_container_collapse_button_34378_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_34378_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_34378_1('footnote_plugin_tooltip_34378_1_1');\"><a id=\"footnote_plugin_reference_34378_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\"> BOZAK, Nadia (2008), \u00abFour Cameras are Better than One: Division as Excess in Mike Figgis\u2019 Timecode\u00bb.<em>\u00a0<\/em>En:\u00a0<em>Refractory: Journal of Entertainment and Media,<\/em>\u00a0vol. 14. University of Melbourne, Melbourne.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34378_1('footnote_plugin_tooltip_34378_1_2');\"><a id=\"footnote_plugin_reference_34378_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\"> \u00abFenomenologia del veure\u00bb ha estat encunyat per fito Rodr\u00edguez i citat per Ingrid Guardiola en el seu text. <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34378_1('footnote_plugin_tooltip_34378_1_3');\"><a id=\"footnote_plugin_reference_34378_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">Recupera i actualitza Pau Waelder en el seu text la \u00abheterotopia\u00bb proposada per Foucault.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_34378_1() { jQuery('#footnote_references_container_34378_1').show(); jQuery('#footnote_reference_container_collapse_button_34378_1').text('\u2212'); } function footnote_collapse_reference_container_34378_1() { jQuery('#footnote_references_container_34378_1').hide(); jQuery('#footnote_reference_container_collapse_button_34378_1').text('+'); } function footnote_expand_collapse_reference_container_34378_1() { if (jQuery('#footnote_references_container_34378_1').is(':hidden')) { footnote_expand_reference_container_34378_1(); } else { footnote_collapse_reference_container_34378_1(); } } function footnote_moveToReference_34378_1(p_str_TargetID) { footnote_expand_reference_container_34378_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_34378_1(p_str_TargetID) { footnote_expand_reference_container_34378_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>En una mena de vaticini, el 2018 Aneesh Chaganty va estrenar Searching, un pioner thriller desenvolupat \u00edntegrament a la pantalla de l&#8217;ordinador. 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