{"id":61123,"date":"2024-10-31T07:30:40","date_gmt":"2024-10-31T06:30:40","guid":{"rendered":"https:\/\/a-desk.org\/?p=61123"},"modified":"2024-10-28T16:11:57","modified_gmt":"2024-10-28T15:11:57","slug":"heridas-de-agua","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/heridas-de-agua\/","title":{"rendered":"Ferides d&#8217;Aigua"},"content":{"rendered":"<p>Sota el t\u00edtol <em>Ferides d&#8217;Aigua<\/em>, filo les pr\u00e0ctiques de quatre artistes i comiss\u00e0ries de les que considero que hi ha juga un paper fonamental i hi ha un contacte continuat i formatiu amb cossos d&#8217;aigua.<\/p>\n<p>Si b\u00e9 l&#8217;aigua no \u00e9s tractada com un tema, apareix com a mitj\u00e0 de dissoluci\u00f3 que recull les tend\u00e8ncies ecocides i genocides de la condici\u00f3 contempor\u00e0nia i serveix com a vehicle interescalar per connectar i examinar aquestes pulsions.<\/p>\n<p>Aqu\u00ed, la met\u00e0fora de la ferida d&#8217;aigua es mostra com una superf\u00edcie en cont\u00ednua liq\u00fcefacci\u00f3 que ens serveix no nom\u00e9s com a acc\u00e9s a una s\u00e8rie de conflictes profunds, sin\u00f3 tamb\u00e9 com a possibilitat de sanaci\u00f3 i reconstituci\u00f3.<\/p>\n<p>En aquest pou sense fons, les met\u00e0fores del qual actuen com a vasos comunicants entre experi\u00e8ncies i estats de transmutaci\u00f3, condueixen al text de <a href=\"https:\/\/a-desk.org\/ca\/magazine\/tidal-grids\/\" target=\"_blank\" rel=\"noopener\"><strong>Margarida Mendes<\/strong><\/a> cap a un essencialisme de la liquiditat de la mat\u00e8ria que ens apropa als ritmes i cad\u00e8ncies dels mitjans elementals (elemental mitjana ). Mitjans entesos com a assemblatges naturoculturals que no s\u00f3n nom\u00e9s recipients i entorns en si mateixos, sin\u00f3 que s\u00f3n contenidors de possibilitats que al seu torn ancoren la nostra exist\u00e8ncia<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_61123_1('footnote_plugin_reference_61123_1_1');\" onkeypress=\"footnote_moveToReference_61123_1('footnote_plugin_reference_61123_1_1');\" ><sup id=\"footnote_plugin_tooltip_61123_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_61123_1_1\" class=\"footnote_tooltip\">John Durham Peters, <em>The Marvelous Clouds: Toward a Philosophy of Elemental Media<\/em><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_61123_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_61123_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>\n<p>Una invitaci\u00f3 a aprendre de la incertesa i la imman\u00e8ncia radical que ofereix l&#8217;experi\u00e8ncia oce\u00e0nica. Entendre la figura del que \u00e9s h\u00eddric quant a mitj\u00e0 de dissoluci\u00f3 i circulaci\u00f3 de les traces de pulsions i comportaments biof\u00f2bics humans, en qu\u00e8 acaben dissoltes la diversitat de cossos d&#8217;aigua: oceans, rius, aq\u00fc\u00edfers o aiguamolls.<\/p>\n<p>A la conversa amb <a href=\"https:\/\/a-desk.org\/ca\/magazine\/marcas-de-agua\/\" target=\"_blank\" rel=\"noopener\"><strong>Claudia Pag\u00e8s<\/strong><\/a> al\u00b7ludim a la naturalitzaci\u00f3 de l&#8217;ecocidi: la perversitat hidrof\u00f2bica del que abans eren \u201ccat\u00e0strofes naturals\u201d ara \u201cweaponitzades\u201d com a instruments de guerra contra poblacions i nacions. Aquesta naturalitzaci\u00f3 continua la implantaci\u00f3 del llenguatge Orwelli\u00e0\u2014com en diu Javier Martinez Gil, guru de la &#8216;fluviofelicitat&#8217;\u2014 a trav\u00e9s del qual l&#8217;aigua s&#8217;associa a conflicte, escassetat i especulaci\u00f3 i que es va convertint en profecia autocomplida en frases com \u201cles guerres del futur seran guerres d\u201faigua\u201d.<\/p>\n<p>Davant d&#8217;aquesta implantaci\u00f3 sorgeix la necessitat de resignificar aquesta fenomenologia associada a l&#8217;aigua, projectar una nova relacionalitat i reflexionar\/desplegar\/ somatitzar el paper de la paraula en tot aix\u00f2, ja sigui escrita\/inscrita (les marques d&#8217;aigua) o pronunciada (les exhalacions).<\/p>\n<p>El text de <a href=\"https:\/\/a-desk.org\/ca\/magazine\/the-undercurrents\/\" target=\"_blank\" rel=\"noopener\"><strong>Cristina Ramos<\/strong><\/a> performa un materialisme essencial d&#8217;acostament a l&#8217;origen de la veu, que precedeix l&#8217;org\u00e0nic\/\u00f2rgan\/organisme. Vocalitzar els circuits d&#8217;incorporaci\u00f3 del substrat mineral a la complexa genealogia material de la veu. La ferida d&#8217;aigua supura en les seves manifestacions, tamb\u00e9 vaporoses, segons afloren els conflictes dissolts. L&#8217;escolta com a acte de sintonia i mitj\u00e0 de correspond\u00e8ncies f\u00edsiques, vibracionals i transtemporals.<\/p>\n<p>Com a colof\u00f3, <a href=\"https:\/\/a-desk.org\/ca\/magazine\/enviromelisma\/\" target=\"_blank\" rel=\"noopener\"><strong>Lorenzo Sandoval<\/strong><\/a>, obre el cam\u00ed a un concepte resultant de la s\u00edntesi de diverses experi\u00e8ncies situades al cant, la lluita pels drets de la natura i tradicions musicals culturalment calidosc\u00f2piques. En aquest cam\u00ed cap a l&#8217;Enviromelisma, reflexiona sobre l&#8217;acte de donar veu al plany mediambiental (environment). Un lament en part as\u00e8mic per\u00f2 ple de sentiment.<\/p>\n<p>(Imatge de portada: &#8220;Meandres de l&#8217;Ebre, presents i passats&#8221; en col\u00b7laboraci\u00f3 amb Rosa Mar\u00eda Gil. Cortesia de Carlos Monle\u00f3n)<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/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_61123_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_61123_1();\">[<a id=\"footnote_reference_container_collapse_button_61123_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_61123_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_61123_1('footnote_plugin_tooltip_61123_1_1');\"><a id=\"footnote_plugin_reference_61123_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">John Durham Peters, <em>The Marvelous Clouds: Toward a Philosophy of Elemental Media<\/em><\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_61123_1() { jQuery('#footnote_references_container_61123_1').show(); jQuery('#footnote_reference_container_collapse_button_61123_1').text('\u2212'); } function footnote_collapse_reference_container_61123_1() { jQuery('#footnote_references_container_61123_1').hide(); jQuery('#footnote_reference_container_collapse_button_61123_1').text('+'); } function footnote_expand_collapse_reference_container_61123_1() { if (jQuery('#footnote_references_container_61123_1').is(':hidden')) { footnote_expand_reference_container_61123_1(); } else { footnote_collapse_reference_container_61123_1(); } } function footnote_moveToReference_61123_1(p_str_TargetID) { footnote_expand_reference_container_61123_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_61123_1(p_str_TargetID) { footnote_expand_reference_container_61123_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>Sota el t\u00edtol Ferides d&#8217;Aigua, filo les pr\u00e0ctiques de quatre artistes i comiss\u00e0ries de les que considero que hi ha juga un paper fonamental i hi ha un contacte continuat&#8230;<\/p>\n","protected":false},"author":2887,"featured_media":61117,"comment_status":"closed","ping_status":"closed","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":[6982],"tags":[],"coauthors":[6992],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>HERIDAS DE AGUA<\/title>\n<meta name=\"description\" content=\"HERIDAS DE AGUA, texto editorial del mes de octubre por Carlos Monleon. 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