{"id":33762,"date":"2021-09-13T07:00:43","date_gmt":"2021-09-13T06:00:43","guid":{"rendered":"http:\/\/a-desk.org\/?p=33762"},"modified":"2023-07-09T14:45:06","modified_gmt":"2023-07-09T12:45:06","slug":"hablamos-marciano-2","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/hablamos-marciano-2\/","title":{"rendered":"SPEAKING MARTIAN"},"content":{"rendered":"<blockquote>\n<p style=\"text-align: right;\">Since my childhood, when my bones, my nerves and my veins were not yet consolidated, always and up to the present time [\u2026] I have joyfully experienced in my soul the gift of this vision.<\/p>\n<p style=\"text-align: right;\">Hildegard of Bingen<\/p>\n<\/blockquote>\n<p>Slip away, leave one\u2019s body and see, there is no warning when this happens. Open eyes observe without mechanism, without dialectic, without language, only image living in time, a time detached from any rational logic as the linearity of its flow has been broken, split off from all structural weight, from all concepts. In this involuntary segregation of a break with temporal continuity, the weight of this body becomes intangible and there is no gravity, space is rarefied, light is different, everything is in focus, clearly defined, without nebula or allegory, a luminosity that reveals the contours of what lies before my eyes.<\/p>\n<p>This is what happened the first time I had such an unusual experience. I think I must have been about four years old, and at that time I used to spend afternoons playing alone in a small outdoor patio outside the door to my mother\u2019s house. The plants there, all of them different with their own pots, created harmony. For me, each one had its own particularity and its own needs, and I listened to them and sometimes I sang to them. During one of those afternoon conversations with the plants, I suddenly began to feel my feet begin to gently separate from the ground, and I began to notice how the air circulated beneath them. The patio was filled with a bright light that illuminated areas that I had never seen before, blocked as they were by the walls of the house. I then saw myself from the other side of the patio. I don\u2019t know how long this event lasted before I returned to everyday life, but the feeling was one of infinite transience, and something had changed in me. After this strange event, a transfiguration occurred in my way of perceiving and seeing, something had forever changed, or rather something had opened up in me. This experience pierced not only the plane of prophetic clairvoyance, but also that of the mediumistic vision.<\/p>\n<p>Hildegard of Bingen spoke in her visions of an inner sensation of light that invaded her just at the moment of perception. What\u2019s more, these happened with her eyes open<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33762_1('footnote_plugin_reference_33762_1_1');\" onkeypress=\"footnote_moveToReference_33762_1('footnote_plugin_reference_33762_1_1');\" ><sup id=\"footnote_plugin_tooltip_33762_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33762_1_1\" class=\"footnote_tooltip\">Or the outer eyes was a term used by Hildegard of Bingen to speak of her visions that occurred in the waking state.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33762_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_33762_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> without entering the abandonment of ecstasy, in her soul, without the need to enter into an altered state of consciousness. In the same way, awake and illuminated by a kind of light that seemed to come from within, my first vision happened, one to which I return to in my memory over and over again, and which I consider, without a doubt, the event of an initiatory communion. It was the beginning of what, years later, would give meaning to the visions that have since constituted me as I am, and which in recent years have become increasingly lucid and clear. These prophetic visions occur while I\u2019m awake, and I always feel that I begin to float and elevate (much higher than when I was four) to such an extent that I can pass through the different heights of a building, I can reach the rooftop and see in all detail the different altitudes of the houses, the walls, the roofs, the cracks. In these journeys (sometimes shorter, sometimes longer) my body elevates. Even though I am aware that my physical feet are still on the ground, I feel at the same time the outside wind, the color, and the temperature of the other place. I am awake, I do not abandon my state of consciousness, but I am seeing with eyes that in no way can be considered physical, which must be the inner eyes that perceive an out-of-body experience, in my soul, and the existence of a consciousness beyond the limits of my body. After elevating, I arrive at a specific place, a place that exists, in which events are shown to me that either reveal something hidden from my knowledge, something from the past or often something that is about to happen. The clarity of the space and the objects is as if I were physically in that place, although the upward movement of floating and passing through obstacles reveals what might be considered \u201cstrange\u201d from the outside.<\/p>\n<p><img decoding=\"async\" width=\"1000\" height=\"730\" class=\"alignnone size-full wp-image-33741\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/El-espejo-1.jpg\" alt=\"\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/El-espejo-1.jpg 1000w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/El-espejo-1-548x400.jpg 548w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/El-espejo-1-768x561.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><\/p>\n<p>This sense of something both strange and familiar is what I felt the first time I saw an Andrei Tarkovsky film. In his film images I saw something very close to my visionary experiences, much more than I have ever seen in any other kind of art work, something that resembles very much the way my visions are visually and acoustically presented. The first film of his that I saw was <em>The Mirror<\/em> (1974), and I felt that his vision of the world and my world coincided. It was a very intimate experience which words can never fully describe. In this film, I remember feeling like I was immersed in a journey in which there was no difference between my visionary world, my dream world and my waking state, only long shots where time seemed to exist within the objects, actors and space, modulated without cuts. I remember, in a passive way, the journey around Yur\u00e9vetz\u2019s <i>dacha<\/i><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33762_1('footnote_plugin_reference_33762_1_2');\" onkeypress=\"footnote_moveToReference_33762_1('footnote_plugin_reference_33762_1_2');\" ><sup id=\"footnote_plugin_tooltip_33762_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33762_1_2\" class=\"footnote_tooltip\">This Russian country house on the Volga was completely rebuilt to make the film <em>The Mirror<\/em>.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33762_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_33762_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>\u00a0(Tarkovsky\u2019s childhood home)\u00a0where the camera orbits around the house showing how the wind moves the plants and the branches of the trees, and in which everything happens in slow motion. A child, Andrei, walks around the house, and what I see as a spectator is what he sees, but the frame of the camera is further up, revealing a point of view from higher up, as if young Andrei was floating, which creates something strange and uncommon. I see from within the child\u2019s gaze and I also see him, and all this happens organically, it is something that as a \u201cviewer\u201d I experience. That\u2019s how I felt when I saw this scene, for the way in which Tarkovsky shows the events in his films corresponds to the passage from my \u201ceveryday\u201d life to that of a visionary state. Some viewers, after the premiere of <em>The Mirror<\/em>, wrote letters to Tarkovsky, from which some significant fragments related to their own identification in his film are extracted: \u201cThank you very much for your film <em>The Mirror.<\/em> My childhood was exactly like that&#8230; [&#8230;] There was an identical wind then, and a similar storm&#8230; [&#8230;] You know, as I looked at the screen in that dark room illuminated by your talent, for the first time in my life I felt that I was not alone.\u201d \u201c[\u2026]<em>The Mirror<\/em>. A film which I am not even able to describe, but which I lived.\u201d \u201cFor the first time, a film seemed real to me. And that is precisely why I saw it over and over again, to live for it and in it.\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33762_1('footnote_plugin_reference_33762_1_3');\" onkeypress=\"footnote_moveToReference_33762_1('footnote_plugin_reference_33762_1_3');\" ><sup id=\"footnote_plugin_tooltip_33762_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33762_1_3\" class=\"footnote_tooltip\">Tarkovski, Andr\u00e9i. <em>Esculpir en el tiempo<\/em>. (Madrid: Rialp, 2015). Spectators in letters to Andrei Tarkovsky about <em>The Mirror<\/em><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33762_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_33762_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>Tarkovsky extracted the ideas for his films, as well as for the filmed sequences, through his dreamlike visions,<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33762_1('footnote_plugin_reference_33762_1_4');\" onkeypress=\"footnote_moveToReference_33762_1('footnote_plugin_reference_33762_1_4');\" ><sup id=\"footnote_plugin_tooltip_33762_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33762_1_4\" class=\"footnote_tooltip\">Tarkovsky&#8217;s prophetic visions occurred on the level of dreams and once they were reflected in his films, they often occurred in his everyday life.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33762_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_33762_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> which he then captured on film as experience, as lived time, not as speculation or as a sign<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_33762_1('footnote_plugin_reference_33762_1_5');\" onkeypress=\"footnote_moveToReference_33762_1('footnote_plugin_reference_33762_1_5');\" ><sup id=\"footnote_plugin_tooltip_33762_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_33762_1_5\" class=\"footnote_tooltip\">Tarkovski had developed his own cinematographic theory where he appealed to the idea of the cinematographic image as an experience recorded in factual forms and phenomena through fixed time. Thus, he&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_33762_1('footnote_plugin_reference_33762_1_5');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_33762_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_33762_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> that the viewer had to decipher. His visionary experience is manifested to the viewer through the present time, what he calls empirical or experienced time, in the movie theater. The time that has been fixed in the film is re-lived by the viewer as a revelation, as a kind of transfiguration in which through observed time they enter the reality of the film as if they were there. Tarkovsky captures time on the screen that may belong to the past or the future, or even both times existing in the present. In the final scene of <em>The Mirror<\/em>, the past and the future are unified in a single shot, in which the mother of Tarkovsky, Maria Ivanovna, is no longer interpreted by the young Margarita Terekhova but by herself in her real age. The strange thing about the scene is that Maria is already old, while her children Andrei and Marina are still children. Tarkovsky breaks all temporal relations between cause and effect. Different times intersect and follow a poetic logic which is quite familiar to me, because in my mediumistic visions none of this is strange, that\u2019s how I see those who have abandoned physical life, in different temporal coordinates but in the same place where they lived, near their loved ones, and all of this happens in me without any effort on my part, without entering an altered state of consciousness. These visions also appear with my eyes open, although the image is manifested in my inner eyes.<\/p>\n<p>The first time I saw a Tarkovsky film, I found somewhere where I recognized my visionary experience.<\/p>\n<p><img decoding=\"async\" width=\"1000\" height=\"730\" class=\"alignnone size-full wp-image-33744\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/El-espejo-2.jpg\" alt=\"\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/El-espejo-2.jpg 1000w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/El-espejo-2-548x400.jpg 548w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/09\/El-espejo-2-768x561.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><\/p>\n<hr \/>\n<hr \/>\n<p><strong>Bibliography<\/strong>:<\/p>\n<p>Bird, Robert. <i>Andrei Tarkovsky. Elements of Cinema<\/i>. London: Reaktion Books, 2008.<\/p>\n<p>Botz-Borrnstein, Thorsten. <i>Films and Dreams. Tarkovsky, Bergman, Sokurov, Kubrick, and Wong Kar-wai<\/i>. Plymouth: Lexington Books, 2008.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>Carrera, Pilar. <i>Andrei Tarkovski. La imagen total<\/i>. M\u00e9xico D.F: Fondo de Cultura<\/p>\n<p>Econ\u00f3mica, 2008.<\/p>\n<p>Cirlot, Victoria. <i>Vida y visiones de Hildegard von Bingen<\/i>. Madrid:<span class=\"Apple-converted-space\">\u00a0 <\/span>Siruela, 2009.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>Fraboschi, Azucena. \u201cScivias, de Hildegarda de Bingen: Declaraci\u00f3n<\/p>\n<p>de las verdaderas visiones que fluyen de Dios\u201d. Agentina: Stylos N\u00ba 15, 2006.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>Llano, Rafael. <i>Andr\u00e9i Tarkovski. Vida y obra I<\/i>. Madrid: Mishkin, 2017.<\/p>\n<p>Mouri\u00f1o, Jos\u00e9 Manuel. <i>Andr\u00e9i Tarkovski y \u2018El espejo\u2019. Estudio de un sue\u00f1o<\/i>. Madrid:<\/p>\n<p>C\u00edrculo de Bellas Artes, 2018.<\/p>\n<p>Robinson, Jeremy M<i>. The Sacred Cinema of Andrey Tarkovsky<\/i>. Maidstone: Crescent Moon Publishing, 2006.<\/p>\n<p>Tarkovski, Andr\u00e9i. <i>Esculpir en el tiempo<\/i>. Madrid: Rialp, 2015.<\/p>\n<p>\u2013 , <i>Atrapad la vida<\/i>. Madrid: Errata naturae, 2018.<\/p>\n<p>\u2013, <i>Martirologio<\/i>. <i>Diarios<\/i>. Salamanca: S\u00edgueme, 2011.<\/p>\n<p>\u2013 , <i>Narraciones para cine<\/i>. Madrid: Mardulce, 2018.<\/p>\n<p>VVAA. <i>Acerca de Andr\u00e9i Tarkovski<\/i>. Madrid: Jaguar, 2001.<\/p>\n<p>VVAA. <i>La experiencia contemplativa. En la m\u00edstica, la filosof\u00eda y el arte<\/i>. Barcelona: Kair\u00f3s, 2016.<\/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_33762_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_33762_1();\">[<a id=\"footnote_reference_container_collapse_button_33762_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_33762_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_33762_1('footnote_plugin_tooltip_33762_1_1');\"><a id=\"footnote_plugin_reference_33762_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">Or the outer eyes was a term used by Hildegard of Bingen to speak of her visions that occurred in the waking state.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_33762_1('footnote_plugin_tooltip_33762_1_2');\"><a id=\"footnote_plugin_reference_33762_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">This Russian country house on the Volga was completely rebuilt to make the film <em>The Mirror<\/em>.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_33762_1('footnote_plugin_tooltip_33762_1_3');\"><a id=\"footnote_plugin_reference_33762_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">Tarkovski, Andr\u00e9i. <em>Esculpir en el tiempo<\/em>. (Madrid: Rialp, 2015). Spectators in letters to Andrei Tarkovsky about <em>The Mirror<\/em><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_33762_1('footnote_plugin_tooltip_33762_1_4');\"><a id=\"footnote_plugin_reference_33762_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">Tarkovsky&#8217;s prophetic visions occurred on the level of dreams and once they were reflected in his films, they often occurred in his everyday life.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_33762_1('footnote_plugin_tooltip_33762_1_5');\"><a id=\"footnote_plugin_reference_33762_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\">Tarkovski had developed his own cinematographic theory where he appealed to the idea of the cinematographic image as an experience recorded in factual forms and phenomena through fixed time. Thus, he separated the idea of image as sign from the point of view of formalism and structuralism, the cinematographic image for him is something alive that is directly related to the passing of time.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_33762_1() { jQuery('#footnote_references_container_33762_1').show(); jQuery('#footnote_reference_container_collapse_button_33762_1').text('\u2212'); } function footnote_collapse_reference_container_33762_1() { jQuery('#footnote_references_container_33762_1').hide(); jQuery('#footnote_reference_container_collapse_button_33762_1').text('+'); } function footnote_expand_collapse_reference_container_33762_1() { if (jQuery('#footnote_references_container_33762_1').is(':hidden')) { footnote_expand_reference_container_33762_1(); } else { footnote_collapse_reference_container_33762_1(); } } function footnote_moveToReference_33762_1(p_str_TargetID) { footnote_expand_reference_container_33762_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_33762_1(p_str_TargetID) { footnote_expand_reference_container_33762_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>Since my childhood, when my bones, my nerves and my veins were not yet consolidated, always and up to the present time [\u2026] I have joyfully experienced in my soul&#8230;<\/p>\n","protected":false},"author":2731,"featured_media":33749,"comment_status":"open","ping_status":"open","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":[6123],"tags":[],"coauthors":[6660],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Hablamos Marciano. Visionary Women Art research group<\/title>\n<meta name=\"description\" content=\"hablamos marciano visionary art women research group\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/en\/magazine\/hablamos-marciano-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hablamos Marciano. 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