{"id":34408,"date":"2021-11-22T07:14:59","date_gmt":"2021-11-22T06:14:59","guid":{"rendered":"http:\/\/a-desk.org\/?p=34408"},"modified":"2023-07-09T14:33:42","modified_gmt":"2023-07-09T12:33:42","slug":"de-la-ventana-al-espejo","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/de-la-ventana-al-espejo\/","title":{"rendered":"DE LA FINESTRA AL MIRALL"},"content":{"rendered":"<p>Comen\u00e7o a escriure per\u00f2 de seguida aixeco la vista, en un moviment gaireb\u00e9 reflex que a moltis <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_1');\" onkeypress=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_1');\" ><sup id=\"footnote_plugin_tooltip_34408_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34408_1_1\" class=\"footnote_tooltip\">En aquest articles, escullo utilitzar un llenguatge no binari, evitant aix\u00ed la masculinitzaci\u00f3 for\u00e7ada en pronoms, substantius i adjectius.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34408_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_34408_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> ens dona la sensaci\u00f3 de poder ordenar les idees. Davant meu, la finestra de l&#8217;habitaci\u00f3 \u00e9s una retallada, un marc ple de llum. Com en una pantalla de cinema (finestra oberta al m\u00f3n), el fora es geometritza, es normalitza, es torna ordenable i classificable. Al meu ordinador, l&#8217;efecte \u00e9s encara m\u00e9s gran: les <em>windows<\/em> no nom\u00e9s s\u00f3n m\u00faltiples sin\u00f3 tamb\u00e9 din\u00e0miques, i l&#8217;estable pantalla semblava esbocinar-se en una exuber\u00e0ncia d&#8217;opcions, ordres i pestanyes. <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_2');\" onkeypress=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_2');\" ><sup id=\"footnote_plugin_tooltip_34408_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34408_1_2\" class=\"footnote_tooltip\">M&#8217;agrada pensar en la continu\u00eftat d&#8217;aquestes met\u00e0fores, vinculades a l&#8217;ull i la visi\u00f3 en els mitjans digitals.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34408_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_34408_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Cap on mirar?<\/p>\n<p>Malgrat aquestes primeres impressions (potser amplificades, per\u00f2 esperant que justifiquin el meu argument), l&#8217;\u00fas contemporani de la <em>split screen<\/em>\u00a0-que tan fervent s&#8217;ha tornat en els \u00faltims temps a causa de la proliferaci\u00f3 d&#8217;activitats socials a les plataformes de videoconfer\u00e8ncies-, dista de ser nou. Per contra, podr\u00edem pensar a tra\u00e7ar una genealogia d&#8217;aquest recurs dins del camp audiovisual, que irremeiablement ens remetria a experiments tan primerencs com el film <em>Napole\u00f3 <\/em>(1927) d&#8217;Abel Gance i el seu sistema Polyvision, l&#8217;atrevit experiment televisiu <em>Ubu Roi<\/em> (1965) de Jean Christophe Averty, o les m\u00faltiples configuracions de cinema expandit iniciats a la d\u00e8cada dels 60. <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_3');\" onkeypress=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_3');\" ><sup id=\"footnote_plugin_tooltip_34408_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34408_1_3\" class=\"footnote_tooltip\">Un treball profund d&#8217;historitzaci\u00f3 i an\u00e0lisi d&#8217;aquests casos pot trobar-se Weibel, Peter. \u201cCine expandido, video y ambientes virtuales\u201d, en La Ferla, Jorge (comp.) El medio es el&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_3');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34408_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_34408_1_3', 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>En aquest sentit, potser ha estat el videoart un dels territoris on de manera m\u00e9s desafiant s&#8217;ha experimentat amb aquest recurs, lligat al principi a combatre un cert efecte de transpar\u00e8ncia del medi televisiu. Si els noticiaris a la televisi\u00f3 procuren juxtaposar confortablement dues escenes simult\u00e0nies en el temps per\u00f2 que ocorren en espais distants (com a la cl\u00e0ssica din\u00e0mica estudi\/exterior), moltes obres van exposar creativament l&#8217;artificialitat d&#8217;aquesta construcci\u00f3. En aquest sentit, un exemple paradigm\u00e0tic pot ser el divertit \u201cbrindis\u201d entre el periodista George Plimpton des dels estudis de Nova York i el seu corresponsal franc\u00e8s al Centre George Pompidou de Par\u00eds durant els primers minuts de <em>Good Morning, Mr. Orwell<\/em> (1984) de Nam June Paik. Lluny de desviar la mirada cap als ulls sempre frontals dels presentadors en la configuraci\u00f3 cl\u00e0ssica de la pantalla partida televisiva, Paik col\u00b7loca la l\u00ednia de contacte\/frontera com a protagonista d&#8217;aquest gest celebratori, posant en relleu la condici\u00f3 adulterada d&#8217;aquesta pretesa conviv\u00e8ncia.<\/p>\n<div id=\"attachment_34389\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-34389\" decoding=\"async\" class=\"wp-image-34389 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/Good-Morning-Mr-Orwell-Nam-June-Paik-1984.jpg\" alt=\"\" width=\"800\" height=\"590\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/Good-Morning-Mr-Orwell-Nam-June-Paik-1984.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/Good-Morning-Mr-Orwell-Nam-June-Paik-1984-542x400.jpg 542w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/Good-Morning-Mr-Orwell-Nam-June-Paik-1984-768x566.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-34389\" class=\"wp-caption-text\">Nam June Paik, &#8220;Good Morning, Mr. Orwell&#8221;, 1984<\/p><\/div>\n<p>Per la seva banda, i ja en terreny llatinoameric\u00e0, el v\u00eddeo <em>11 de septiembre<\/em> (2002) de Claudia Aravena, presenta un \u00fas divers de la pantalla partida, ja que no es tracta aqu\u00ed simplement de juxtaposar dos esdeveniments simultanis sobre una mateixa superf\u00edcie, sin\u00f3 d&#8217;aproximar sobre ella dos esdeveniments distants en el temps. En un provocador gest, Aravena ensambla imatges de la caiguda de les Torres Bessones a Nova York el 2001, amb el cop d&#8217;Estat de Salvador Allende a Xile, el 1973 -dos esdeveniments que, curiosament, van tenir lloc el mateix dia, amb 28 anys de difer\u00e8ncia. <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_4');\" onkeypress=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_4');\" ><sup id=\"footnote_plugin_tooltip_34408_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34408_1_4\" class=\"footnote_tooltip\"> Tamb\u00e9 curiosament les Torres Bessones van ser inaugurades l&#8217;any 1973, just cinc mesos abans del cop d&#8217;estat i assassinat d&#8217;Allende.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34408_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_34408_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> Acompanyat de fragments dels textos de Marguerite Duras a <em>Hiroshima, Mon Amour<\/em> (Alain Resnais, 1959) i de l&#8217;\u00faltim discurs d&#8217;Allende en la veu de la pr\u00f2pia artista, el v\u00eddeo exposa dues meitats de la pantalla que es van despla\u00e7ant i tornant m\u00f2bils els l\u00edmits entre l&#8217;una i l&#8217;altra, com si l&#8217;episodi xil\u00e8 s&#8217;hagu\u00e9s d&#8217;esfor\u00e7ar per entrar a la hist\u00f2ria universal -una hist\u00f2ria que amb excessiva facilitat i arrogant invisibilitzaci\u00f3, tendeix a nuclear-se al voltant dels esdeveniments que han marcat els estats m\u00e9s poderosos.<\/p>\n<div id=\"attachment_34386\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-34386\" decoding=\"async\" class=\"wp-image-34386 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/11-de-septiembre-Claudia-Aravena-2002.jpg\" alt=\"\" width=\"800\" height=\"446\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/11-de-septiembre-Claudia-Aravena-2002.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/11-de-septiembre-Claudia-Aravena-2002-595x332.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/11-de-septiembre-Claudia-Aravena-2002-768x428.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-34386\" class=\"wp-caption-text\">Claudia Aravena, &#8220;11 de septiembre&#8221;, 2002<\/p><\/div>\n<p>Tanmateix, intueixo que subjau a aquestes reflexions sobre l&#8217;\u00fas est\u00e8s de la pantalla partida una q\u00fcesti\u00f3 m\u00e9s rellevant \u2013i no per aix\u00f2 menys encoberta, vinculada a les possibilitats de reactualitzar una din\u00e0mica de la mirada. Per al cas de les imatges amb qu\u00e8 ens hem habituat a conviure i que avui s\u00f3n el focus d&#8217;aquesta reflexi\u00f3 -il\u00b7limitades quadr\u00edcules habitades per caps parlants dins de les nostres plataformes de videoconfer\u00e8ncies- entenc que un factor diferencial respecte a les anteriors resideix en la inclusi\u00f3 de l&#8217;espectador\/usu\u00e0ria dins de la imatge <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_5');\" onkeypress=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_5');\" ><sup id=\"footnote_plugin_tooltip_34408_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34408_1_5\" class=\"footnote_tooltip\">Curiosament, les primeres fantasies a l&#8217;entorn de la possibilitat de conversar amb una persona distant mentre podia veure&#8217;s la seva imatge reprenien una idea m\u00e9s lligada a la pantalla&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_5');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34408_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_34408_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, convivint a la mateixa superf\u00edcie amb els\/les seus\/es interlocutorxs. Lluny de ser una dada anecd\u00f2tica, suggereixo que la <em>met\u00e0fora de la finestra<\/em> oberta al m\u00f3n que havia servit de base epistemol\u00f2gica per a l&#8217;aparell cinematogr\u00e0fic podria ser avui m\u00e9s oportunament reempla\u00e7ada per la <em>met\u00e0fora del mirall<\/em>.<\/p>\n<p>Com sabem, les imatges m\u00e0quines audiovisuals <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_6');\" onkeypress=\"footnote_moveToReference_34408_1('footnote_plugin_reference_34408_1_6');\" ><sup id=\"footnote_plugin_tooltip_34408_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_34408_1_6\" class=\"footnote_tooltip\"> Veure Dubois, Philippe. \u201cM\u00e1quinas de im\u00e1genes: una cuesti\u00f3n de l\u00ednea general\u201d, en<em> Video, Cine, Godard. <\/em>Buenos Aires, Libros del Rojas, Universidad de Buenos Aires, 2000.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_34408_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_34408_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> han estat hereves directes de la perspectiva renaixentista i, per tant, de l&#8217;organitzaci\u00f3 de l&#8217;espai a partir del punt de vista d&#8217;un subjecte \u00fanic i estable -una caracteritzaci\u00f3 a la qual podr\u00edem afegir bar\u00f3, blanc, instru\u00eft i europeu-, un per\u00edode que hist\u00f2ricament i geopol\u00edticament fa coincidir al Renaixement amb el genocidi d&#8217;Am\u00e8rica i la ca\u00e7a de bruixes a Europa durant el s. XV-XVI. Aix\u00ed mateix, tal com Mary Louise Pratt examina de manera s\u00f2lidament documentada al seu fascinant llibre <em>Ojos imperiales: <\/em><em>literatura de viajes y transculturaci\u00f3n<\/em> els r\u00e8gims de sistematitzaci\u00f3, producci\u00f3 d&#8217;ordre i unitat global de la natura a partir de la ci\u00e8ncia, els relats de viatges i el relleu cartogr\u00e0fic durant el s. XVIII estarien tamb\u00e9 directament relacionats amb el projecte imperialista europeu: \u201ccom a constructe ideol\u00f2gic, la sistematitzaci\u00f3 de la naturalesa representa el planeta apropiat i reorganitzat des d&#8217;una perspectiva unificada europea\u201d (Pratt 2010: 73).<\/p>\n<p>En aquest context, les m\u00e0quines audiovisuals han estat utilitzades de forma massiva per tal de (re)produir la imatge d&#8217;un m\u00f3n estable, ordenable, classificable. Tot i aix\u00f2, i malgrat la proliferaci\u00f3 inacabable d&#8217;imatges, de la multiplicaci\u00f3 de les pantalles dins de les pantalles, sembl\u00e9ssim aproximar-nos a un esgotament de la mirada, com si el creixement d&#8217;imatges dins d&#8217;altres imatges ens port\u00e9s al v\u00e8rtex de l&#8217;absurd: paradoxalment, i com davant d&#8217;un mirall, un ull que nom\u00e9s pogu\u00e9s mirar-se a si mateix, una <em>selfie<\/em> en temps real que volgu\u00e9s disfressar-se de di\u00e0leg o d&#8217;inst\u00e0ncia comunicativa. En contraposici\u00f3 a aquest efecte, trobo suggeridora la pregunta de Silvia Rivera Cusicanqui a la seva <em>Sociolog\u00eda de la imagen<\/em>: <em>miradas ch&#8217;ixi desde la historia andina<\/em>, sobre \u201c[&#8230;] com es podria descolonitzar l&#8217;oculocentrisme cartesi\u00e0 i reintegrar la mirada al cos, i aquest al flux de l&#8217;habitar a l&#8217;espai-temps, en all\u00f2 que altres anomenen hist\u00f2ria.\u201d (Rivera Cusicanqui 2015: 25). Per a l&#8217;autora, si la mirada ha estat organitzada al voltant de l&#8217;ull com a \u00f2rgan rector, ens cal alliberar-nos del seu lligam per reinserir-lo en una din\u00e0mica que conjugui tamb\u00e9 el cos, la ment i les dimensions variades de l&#8217;experi\u00e8ncia.<\/p>\n<p>Rellegeixo aquesta \u00faltima oraci\u00f3 i penso en <em>Live Taped Video Corridor<\/em> (1970), de Bruce Nauman, com una d&#8217;aquelles obres que inscriuen una marca indeleble al cos. Avan\u00e7ament per un passad\u00eds; al final, dos monitors, un sobre un altre. La instal\u00b7laci\u00f3 \u00e9s simple: un dels monitors mostra la imatge captada per una c\u00e0mera endavant meu, i l&#8217;altre la d&#8217;una c\u00e0mera empla\u00e7ada darrere. Per\u00f2 l&#8217;efecte \u00e9s aclaparador: l&#8217;aven\u00e7 \u00e9s relatiu; les coordenades d&#8217;espai\/temps es distorsionen. I potser, de manera m\u00e9s transcendental, la meva imatge ja no \u00e9s meva. Me&#8217;n converteixo en una altra mentre em veig, i en aix\u00f2 rau una transformaci\u00f3 potencial dels r\u00e8gims de visualitat i els simulacres de comunicaci\u00f3, que desafien l&#8217;homogene\u00eftzadora multiplicaci\u00f3 de les pantalles. Potser a partir d&#8217;aquestes obres experimentals, provocadores i infreq\u00fcents, aconseguim travessar la finestra sense tornar al mirall. Doncs al final, la pregunta de l&#8217;inici tamb\u00e9 podria ser reformulada: <em>nom\u00e9s<\/em> mirar?<\/p>\n<div id=\"attachment_34392\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-34392\" decoding=\"async\" class=\"wp-image-34392 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/Live-Taped-Video-Corridor-Bruce-Nauman-1970.jpg\" alt=\"\" width=\"800\" height=\"1125\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/Live-Taped-Video-Corridor-Bruce-Nauman-1970.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/Live-Taped-Video-Corridor-Bruce-Nauman-1970-284x400.jpg 284w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/11\/Live-Taped-Video-Corridor-Bruce-Nauman-1970-768x1080.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-34392\" class=\"wp-caption-text\">Bruce Nauman, &#8220;Live Taped Video Corridor&#8221;, 1970<\/p><\/div>\n<p>&nbsp;<\/p>\n<p>(Imatge de portada: Claudia Aravena, <em>11 de septiembre <\/em>(fotograma), 2002)<\/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_34408_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_34408_1();\">[<a id=\"footnote_reference_container_collapse_button_34408_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_34408_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_34408_1('footnote_plugin_tooltip_34408_1_1');\"><a id=\"footnote_plugin_reference_34408_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">En aquest articles, escullo utilitzar un llenguatge no binari, evitant aix\u00ed la masculinitzaci\u00f3 for\u00e7ada en pronoms, substantius i adjectius.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34408_1('footnote_plugin_tooltip_34408_1_2');\"><a id=\"footnote_plugin_reference_34408_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">M&#8217;agrada pensar en la continu\u00eftat d&#8217;aquestes met\u00e0fores, vinculades a l&#8217;ull i la visi\u00f3 en els mitjans digitals.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34408_1('footnote_plugin_tooltip_34408_1_3');\"><a id=\"footnote_plugin_reference_34408_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">Un treball profund d&#8217;historitzaci\u00f3 i an\u00e0lisi d&#8217;aquests casos pot trobar-se Weibel, Peter. \u201cCine expandido, video y ambientes virtuales\u201d, en La Ferla, Jorge (comp.) <em>El medio es el dise\u00f1o audiovisual<\/em>. Buenos Aires, Editorial Universidad de Caldas, 2007.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34408_1('footnote_plugin_tooltip_34408_1_4');\"><a id=\"footnote_plugin_reference_34408_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\"> Tamb\u00e9 curiosament les Torres Bessones van ser inaugurades l&#8217;any 1973, just cinc mesos abans del cop d&#8217;estat i assassinat d&#8217;Allende.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34408_1('footnote_plugin_tooltip_34408_1_5');\"><a id=\"footnote_plugin_reference_34408_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\"> Curiosament, les primeres fantasies a l&#8217;entorn de la possibilitat de conversar amb una persona distant mentre podia veure&#8217;s la seva imatge reprenien una idea m\u00e9s lligada a la pantalla ciematogr\u00e0fica, com pot observar-se en la il\u00b7lustraci\u00f3 del Telephonoscope d&#8217;Edison per George Du Maurier (Revista Punch 75, 9 Desembre 1878).<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_34408_1('footnote_plugin_tooltip_34408_1_6');\"><a id=\"footnote_plugin_reference_34408_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\"> Veure Dubois, Philippe. \u201cM\u00e1quinas de im\u00e1genes: una cuesti\u00f3n de l\u00ednea general\u201d, en<em> Video, Cine, Godard. <\/em>Buenos Aires, Libros del Rojas, Universidad de Buenos Aires, 2000.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_34408_1() { jQuery('#footnote_references_container_34408_1').show(); 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