The reflection of the gaze: the need for a conscious spectator The reflection of the gaze Gemma Aguilar

Gemma Aguilar, Bachelor of Fine Arts at the University of Vigo (1995), done doct oral studies in 1996-1998 of which carries a thesis project postergardo desired but over the years. Now seeks to resume-boosting channeling their written reflec tions through the site via-blog in the community of El Pais, as ammeg02 be hyper textual, visual puke and other cultural services. From the blog comes to e * thr ough limboboy limbo where he has another hole to dwell in the network and for wh om this text. This consideration is Peter Greenaway, Bill Viola, the screen as c anvas, paper presented at the Cendeac de Murcia, International Congress Peter_Gr eenaway, Image impure [cinema, body painting] on November 25, 2006. tags: intern et, breadcrumbs, hypertext, digital, narrative, liquid life, memory, forgetting, writing, rhizome, label, tag, metatag, indexing, story, blogosphere, user, plur arquia, hollow, voyeurism, reflection, reality, fiction , art, painting, literar y Gemma Aguilar 1 The reflection of the gaze: the need for a conscious spectator And if you ask me who is Heidi, I answer: apple is a strange form of winter. Its acidity, the thrill of knowing the right way, his rough, the kiss of all leyend as1 poisoning. In our reality ficcionalizada2 the characters jump from one medium to another, j ust as we find Heidi in a poem by Elena Medel, can aparecérsenos news. Represent ation formats conforming approaching a most unexpected character in any audiovisual murmur increasingly homogeneous and likely to become background nois e band as a "visual" everyday 3. A imperceptible pace (if organic, as the growth of the nails or hair: silent but constant) become representation schemes of our time unabashedly hybridizing and penalizing our no-update (dangerous carelessne ss incompatible with the assimilation of change ) with the risk of becoming vuln erable objects or subjects, susceptible of easy vapuleamiento4. February 1 Elena Medel, ( My first bikini, DVD, Barcelona, 2002, p. 54 In the context of media culture, the concepts of truth and falsehood have lost any validity. Everything is true and false at the time. Which imposes a new prot ocol regarding the image and the transmission systems of knowledge, which tends to reposition both the social functions of image-producing technologies and to r edefine the notion of reality. Joan Fontcuberta, Kiss of Judas. Photography and Truth, Gustavo Gili, Barcelona, 1997, p. 175 3 players shared - icons like trading cards - trivialized as severe - fictionalization of reality - assimilation of the imaginary - rumor sli ppage in the constitution of the story credible - camouflage advertising informa tion channels - instant constant traces the movements draw card to each consumer gesture Paradoxically our capitalist society, and leave us behind faceless, fac eless, shapeless form the consumer, generated through our credit cards a consume r profile that lets you typed and qualify to assign a key allowing identificatio n and differentiation of our labeling and and conversion into valuable currency in the system.

4 Currently, we are all the Alice that Lewis Carroll warned that "what is here you see, you need to run everything one can to stay in the same place. If you wa nt to go somewhere else you have to run at least twice as fast. "The search for an elusive individuality leaves little time for anything else. There is always Gemma Aguilar 2 The reflection of the gaze: the need for a conscious spectator In this context, reflecting on the work of Peter Greenaway and interested in hyb ridization formats verifica5 therein and, more specifically, the influence of pa inting procedures, we come to the work of author Bill Viola: both authors rooted their training in the art that underlies his work as a skeleton form and consis tencia6 dotador. between the pictorial and literary distance (approximately) new symbols of distinction on offer that promise to bring us to our goal and con vince all that are with us in the street or visit our home, in fact, we've met, but these new brands invalidate those which promised to get same thing just a mo nth or a day earlier. In the game of individuality,€there is no time for a breat her. Zygmunt Bauman, Liquid Life, Ediciones Paidós Iberica SA, Barcelona, 2006, pp. 36-37 5 As in other communication channels, in Peter Greenaway's creations there Assim, themes and Personagens convivem reais com or fictional universe, semper elaboraç ão cuja ao escapes conventional sumarized we palavra ea imagem com mais we varie d suportes.Así, themes and real people living with fictional universe whose prod uction always flees from the conventional, involving word and image in many diff erent media. (Translation mine) Gilberto Alexandre Sobrinho, "I Peter Greenaway fences," AV Magazine 2 Year 2, April 2004, ISSN 1806-8081 a fictitious network that hosts real characters. 6 Estou convinced that storytelling can be não aos aos writers and filmmakers tem outras coisas mais fazer than interesting to. It is, as André Bazin sugeriu or cinema nasceu uma combinação of theater, literature and painting, the latter foi semper forgotten forest. Pouquíssimos filmmaker is anxious about em imagens behavior. I mesmo big as Bergman and Scorsese, is committed to Ilustração text c om ea theatrical mimes, ou ainda com a proposta Pirandello to portray Idéias by meio of Personagens. Or if cinema tem mais isso Autônomo do that. Please, let te r um cinema-cinema to see Tenho of imagens com a criação. Mattos, C.A. Greenaway film homenageia seus heroism, p. 04, quotes gathered by, Aleixandre Sobrinho in "Os fences Peter Greenaway," AV Magazine 2 Year 2, April 2004 ISSN 1806-8081 Gemma Aguilar 3 The reflection of the gaze: the need for a conscious spectator Peter Greenaway7, Nightwatching Since different ways, but increasingly distant, formal inquiry (mainly cinema ex perimental8 in the case of Peter Greenaway and video art in the Bill Viola), bot h authors come to the DVD9 format adopting current today as usual, being route o f main presentation to the public facilities

July 8 Peter Greenaway, Accordi ng to the statement of Santos Zunzunegui we collect, the route chosen by Peter Greenaway is the natural evolution of cinema adaptive face to their survival is consistent with our times: For the last hundred years are now go to the movies o n a permanent confrontation with the arts and the breathtaking surrounding impor t purchases (also has been Obviously, time export of findings). Speaking of movi es is, therefore, do painting, photography, but also in literature, theater, mus ic and more. But not in a metaphorical way but in a living way to put into play so common and what they all have different expressions of human creativity. Only in this light the film may be considered its revival in the time of crossing th e border of the millennium. And just assuming its proper place in the concert of the arts will be able to provide answers to that question that Peter Handke enu nciated by the following formula: "What thing now is to the eye?". Archipelago, Cinema: From sideshow to audiovisual, 22, 1995, 'In the course of time' Santos Z unzunegui, p. 14 9 Chronophotography (the still picture) and cinematography (the true movement of t he real) are (...) according to Godard, "between Marey and Lumière lack a machin e." In other a dual device with no other support to be the reverse of the other. Thus, the ma chine "theoretical" missing between Marey (photography) and Lumière (film) is, o f course, video. The video not as an object or a work, but as a given state of t he image, as the expression of a visual search of an oscillation, a stage betwee n two states of representation. Exit 3, Offstage, Madrid, 2001, 'From a picture of the state or the influence of cinema in contemporary creative photography', P hilippe Dubois, P. 137 Gemma Aguilar 4 The reflection of the gaze: the need for a conscious spectator museos10 galleries. Both Peter Greenaway and Bill Viola uses the media as suppor t for their work: while the two in his creative process important evidence conce rning pictorial assimilates each processed differently. In either case, it is an intellectual process in which there is a conscious reflection that results in a work directed to a skilled and motivated audience for a full enjoyment of the p roposal made. 10 Just as the opera was considered from the s. XVII and then a kind of umbrella of all the arts, summa artis in merging the most beautiful and fine arts that become partners and converge to provoke through narratives and ly rical interpretations, emotions of all kinds,€usually linked to a dramatic purpo se, cautionary, reviewing passages epic, mythic, historical or sentimental, the video is now half that in a sense, contains the same capacity for integration, s imilar to the opera while incorporating different elements alone and independent ly, are creative ways with their own identity. Moreover, video art found exceeds by more than cinematic narrative or documentary feature, linked to both technic al and mass analog sources, as sensory evocation in the search for a connection with the viewer sensitive, emotional, secretive and ambiguous while complex, wit h imprecise borders are still to be determined and which are abstract in that ca pacity, as well as operatic spectacle, most genuine values from the use of techn ology as the language of modernity. These qualities, shared only in sympathy wit

h the film industry by the experimental film that wants to overcome the dependen cy narrative through experimentation and the search of expressive plastic, incre asingly favor the acceptance of this medium in the field of creation , postmoder n identity that represents the technological age in which we live. (...) Today, video art, after experiencing a boom in recent decades, is becoming more widespr ead and is perfectly integrated in the context of contemporary visual arts today , the result of speculative whims and fads, are hosting a renewed public interes t and more specialists or vice versa, and even rudimentary analog media for no l onger regarded with contempt archaic painting, enjoying a situation that sees th e digital environment overcome and assimilated by the market. Now the pictures l ive in harmony with LCD displays, LCD monitors or flat, in an idyllic vision of the post-modern decor, in which new technology gurus reinterpreted the Renaissan ce masters, see recent work of Bill Viola. Revealing the invisible. Contemporary video art. 'The invisible reality', Juan Carlos Rego, pp. 18-19. Ministry of Cu lture and Sport, Madrid, 2005 Gemma Aguilar 5 The reflection of the gaze: the need for a conscious spectator Bill Viola, Going Forth by day11 In this sense, both the movie Funny Games and Cache, both from Austrian filmmake r Michael Haneke Through a series of images and icy cold, Michael Haneke has continued to dust th e contradictory elements of a welfare society in which wealth always hides what siniestro12. appeal to audience participation for the full establishment of the works, his sp eech raised a metalinguistic immersed in the visual environment and an important implication of socio-cultural13. Atom Egoyan, Exótica14 November 1912 Bill Viola, Àngel Quintana, Revelation Haneke 13 Mattias Frey, Michael Haneke, 14 Girish Shambu, Senses of Cinema, The Pleasure And Pain Of "Watching": Atom Egoya n's Exotica Gemma Aguilar 6 The reflection of the gaze: the need for a conscious spectator Also in this line is the work of the Canadian Atom Egoyan, who plays on the exot ic side voyeurism of the viewer to become interwoven with the narrative that is offered as a puzzle. In The pianista15 (Michael Haneke) is appealing to the sens ibility of the viewer, as in previous works, basing the effectiveness of their c orrosive nature and forceful. Already in the novel on which part of the film, El

friede Jelinek Nobel envisions as a dominant gentrification deep pain in our day s drawing it with his tongue sharp and sarcastic, lashing with the whip of stabb ing sentences, terse and aggressive. This old woman is one who just go up but not passing through the collector. Thin k you can hide that has come up here, in this car. The truth is that long ago th at everything does not care and knows it. He was no longer worth paying. The han d bag has a ticket for the next world. This should also be valid for the tram. A t that moment a lady asked how to get to that place and she does not respond. No answer though she knows exactly how to go. The lady does not leave anyone alone , stir the whole car and distracting people on one side and another to look out over the street looking for seats.€It's a terrible hiking forest trails, has a h abit of altering the contemplative quiet of the innocent ant tickle her thin mak ing them stick. It causes irritated animals expel acids. She is among those who stand on principle every stone to see if there is a snake below. Each course, ho wever small, is carefully tracked by this lady in search of mushrooms and berrie s. She is of this type of people. Of those who squeeze every last drop each work of art and proclaim it publicly. In the park cleaned up the bank with a handker chief before sitting down. In restaurants reviewed the silverware with a napkin. Rummage through the costume of a close relative, as brush and dig looking hair, letters or grease stains. And now, this woman is disgusted with vehemence sound because no one is able to provide information. He claims that nobody wants to g ive you information. This woman represents the most ignorant, but that is beyond one thing: the will to fight. He faces either if it comes to story. 15 Nina Hutchison, Senses of Cinema, Between Action and Repression: The Piano Teach er Gemma Aguilar 7 The reflection of the gaze: the need for a conscious spectator ELLA down in the street just looking lady and looks sarcasmo16 step. Similar attitude is recognized in Greenaway's proposals: Ultimately, the cultural exhibitionism of Greenaway's films Seems more Than Enga ged with the present with the Past. As with historical curatorial Work (see, for example, the catalog of historical 1992 Louvre exhibition), the films invite us to re-read Our Culture, Irreverent and eccentric trajectories Proposing to take us Through the hundreds of artifacts juxtaposed in obsessively Collectibles and Celluloid museum displays a wry animated by humour17. The question to be asked is whether these proposals artistic approach (in the br oadest sense of the word art - what today would have restricted sense? -) Is rea lly different in substance, from a formal point of view and conceptual. Undoubte dly, the answer is negative in nature. It is clear that despite the different wa ys of formalizing their work, reflections of the authors are departing in a harm onious, common in regard to the visual (literally) from the simultaneous articul ation contemporary sources of audiovisual resources (textual) heterogeneous and their participation in the everyday, until the acid irony of his looks disposses sed of what might be called political correctness shame (or standards-oriented). At the same time, we realize that this is a necessary discourse approach increa singly adopted by more artists for the social concern is directed towards a cult ural insight that the speed inherent in our days tend to cancel as a requirement more for their (mis) incorporation. transmitter and receiver: distance (approxi mately) The emergence of new types of viewers is a concept that is handled in certain se ctors of film analysis, but few people dare to try to define how the viewer actu

al18. 16 17 Elfriede Jelinek, The Piano, Mondadori, Barcelona, 2004, pp. 25, 26 Art & Film, Art & Design, Academy Group Ltd, London, 1996, "Peter Greenaway and the Technologies of Representation, The Magician, the Surgeon, Their Art and Its Pol itics ", Bridget Elliott and Anthony Purdy, p. 20 Gemma Aguilar 8 The reflection of the gaze: the need for a conscious spectator The current production system comprises audiovisual19 bulímica20 compulsion as a means of normalized consumption, the attitude Acriticism as privileged and gene rally banal anecdote and protagonists, multiplying the production and disseminat ion of the same and, consequently, increasing the marginalization of another ins ide a vast and somewhat without hierarchy [To the extent that the network in whi ch information is distributed is distributed nature versus previous models in wh ich the model was of a centralized or decentralized, as stated David Ugarte in t he power of networks,] as long as we are in a phase of (re) construction of the world through changing th e structure of information that opens the dangerous (?) possibility of modifying the structure of power. In any case, some general disorientation allies with th e ease of participation espectador21 that when you purchase a user profile (half at least) can intervene and directly involved in the authorship of the work, le ading to a rapprochement between the issuer and receiver.€In this way, allows fo r the provision of information processes that go beyond the structures of media democratization (in these cases the spaces are fissures hacktivism 18 Alejandro Diaz, Shadow Train, On the fragmentation of the contemporary image. Th e insight, 19 read media (by applying a larger value label), which inhabits the screens large and small who are with us or waiting for public or private environments 20 So things would not it be informative anorexia, refusal to accept despair any information, one of the possible reactions to the trend of cyberspace to fil l the empty too? Slavoj Zizek, Lacrimae Rerum. "The global hypertext", Essays on modern cinema and cyberspace, Editorial Debate, Madrid, 2006, p. 254 21 Browsers, operating systems and search engines are not neutral tools But eat wit h built-in specific social, cultural and Aesthetic agendas. To Emphasize The Impor tance of Being networked is one. Understanding Is Another network architectures. It is the task of new media activists, artist and theorists to take the lead an d probes Not Only But Also critical undertaker mediate the outcomes to a multitu de of Audiences. Geert Lovink, The Principle of Notworking. Concepts in Critical Internet Culture,

f Gemma Aguilar 9 The reflection of the gaze: the need for a conscious spectator hiding in the capitalismo23 canales22 for which the challenge is survival, incre asing the speed with which the filled structure and nomads have to relocate to m aintain their sense). This tension forces tend distribution structures of inform ation to address the plurarquia24 through networks like the blogosphere featurin g support for espacios25 as gaps where ubicarse26: The fund, once again: the pow er that gives us network to create (and demolished) myths, to win the future by counting 22 How to describe the system of ownership without talking about violence? Violence drives to be installed in a space there. Without hesitation, Rousseau calls a fence in order of first right of ownership. In this place or this box, by force or by law , every one lives at home. And now, in a logical space, the battle being waged a round the signs. And to seize these new enclosures, you can discuss ways: to tes t, demonstrate, persuade, as regards the content of the messages of truth, and s econdly, we can undertake it with the very subject on which states mouth: anathe matized, gagged, capture him, kill him on the third row, we can lay hands on sup port to appropriate channel or signal: sound and noise, lines or waves, suddenly , everything goes through he belongs who owns it. These are, in short, old and n ew strategies. The latest, best, prefer to debate dogma or purchase, less tiring , more innocent, seemingly without violence. Those who have denounced the dogmas channels! Michel Serres, "Plan of the property," Atlas, Cátedra, Madrid, 1995, p. 156 23 On the other hand, the advantage of users or crowds (Michael Hard & Antonio Negr i, in Multitude: War and Democracy in the Age of Empire) against institutions of power , is the speed that presents its capacity to detect and adapt to the swift evolu tion of digital devices so that the "use" in fact only obtained after a "hunt" t hrough the game of cat and mouse. 24 David de Ugarte following the plurarquia is the system of organization corresponds with distributed networks and lean against the model of democracy (e xcluding options) is characterized by an abundance model, as he himself says, "S omeone who intends and wants to be added. [...] Although most not only sympathiz e but warned against a proposition, it could not prevent its realization. Democr acy in this sense is a system of scarcity: the community has to choose between o ne thing and another, between a filter and another, between one representative a nd another. " The 25 power of the networks John Perry Barlow, one of the most representative of cyberculture Californian goes on to offer another metaphor stranger to define the Internet in the coming years: the sale of wine without bottles. [...] The value was in its transmission (embodied in a book, record or other media) and not the thought conveyed. Gemma Aguilar 10 The reflection of the gaze: the need for a conscious spectator stories. Because the revolution, the new freedoms, is a story€a beautiful story of the future, come true when we believe it, we begin to live, today, in it. 27 we share and Anna Gaskell Julia Fullerton-Batten The grass only exists between the large uncultivated areas. Fill in the blanks. Grows between, and among other things. The flower is beautiful, useful cabbage, poppy makes us mad. But the grass is overflow moral28 a lesson. "In other words, the bottle was protected and not wine. Now, as information ente rs cyberspace, the birthplace of the mind, these bottles are vanishing. With the advent of digitization, it is possible to replace all previous forms storage of information by a meta-bottle: complex models, and highly liquid, of ones and ze ros. " John Perry Barlow, "Selling wine without bottles, the economy of mind on the global network," in The Wanderer, ed. Siruela 1995, p.10-22. Fifth 26 Regazzoni, The challenge of the cyberculture ammeg02 hypertext, visual pu ke and other cultural services, a home in the gap,, I li ke the introduction of e * limbo / Art/2590 27 David de Ugarte, The power of networks 28 Henry Miller, Hamlet, Corrêa, pp. 48, 49, reported by Gilles Deleuze, Felix Guat tari,

Rhizome, Pre-Textos, Valencia, 2005, p. 43 Gemma Aguilar 11 The reflection of the gaze: the need for a conscious spectator The generation of these holes makes it possible for usuarios29 libre30 exchange information and knowledge constitute a movement of simultaneous network with a g rowing interest and an exponential growth in which the challenge is greater enjo yment indexing and search-performance track of production as self-sufficient as possible for a (certain) durability [even nomadic] and above all autonomy. Emma Kay For her series of large-scale paper prints, Emma Kay has-been working from books of varying length and genre, compiling Comprehensive lists of all the material objects, in order of Their appearance, in The Given texts. These lists Were Exac tly Then typeset to fill a rectangle of a size Given Within the frame of the pri nt. The disappearance of the object is mourner In These works by an obsessive At tempt to reconstruct the 'object-world' of The Given 29 now that everyone can (can) say do we mean? Do we have something to say?: Browsi ng, watching, reading, waiting, thinking, deleting, chatting, skipping and surfi ng are the default condition of online life. Total Involvement Implies madness t o the Highest degree. Characterized What networks is a shared sense of potential ity That does Not Have to be performed. Geert Lovink, The Principle of Notworkin g. Concepts in Critical Internet Culture, 30 what David de Ugarte, in the power of networks, consider cyberactivist lyrical s peech: The lyrical, understood as the way of creating options for the future fro m what is lived, felt, enjoyed and done in the present is but representation on account of a particular ethos, a way of life that arises as an option among othe rs, not seeking to annul the field to another or deny them. The lyrical invited to join without being diluted, seeking conversation, not membership. This is an ethical dimension in front of the exclusive, sacrificial and confrontation which inevitably raises the epic. Gemma Aguilar 12 The reflection of the gaze: the need for a conscious spectator narratives. They erase the narratives in the process Themselves, But fail to arr ive at an actual 'picture'. It is left to the viewer to fill in the gaps, thereb y Necessarily relying on memory, imagination, Even counterfeit. Yet the gaps are too great, and one Could Hardly Anyone Actually imagine reading Through the Ent ire list. Apart form hinting at the antithetical Characteristics of object and t ext, Kay Another Seems to be making, Paradoxical subtle point about the nature o f narrative. Does, After All, Any Attempt at a one-to-one representation in text result in Utter unreadability? Is not it the very nature of narrative to conden se, to Abridged, to leave gaps? 31 This index goes beyond doubt by the semantics (structures like clouds of content through the tags associated with each node, defining meta tags in the headers a nd the body of the html that structure our pages, descriptive alts to insert our images titles refer to the hyperlinks ...) and links to open lines of research

and experimentation as both philological and philosophical literature (to identi fy some labeling).€Temporal disorganization and fragmentation The world has become chaos, but the book remains a picture of the world, caosmos -radicle rather than root-cosmos. A strange mystification of the book, the more the more fragmentado32 total. Digital worlds have the ability to break the chron ological narrative linearity due to the intrinsic characteristics of the environ ment: fragmentation, immediate access and connectivity between units narrativas3 3. 31 32 33 (LVO), ~ lenny / smart / smart_cat.htm Gilles Deleuze, Felix Guattari, Rhizome, Pre-Textos, Valencia, 2005, pp. 15, 16 Landow, G.P., Hyperte xt. The convergencee of contemporary critical theory and technology. Baltimore and London: The John Hopkins University Press, 1992, refer red to by Diego Bonilla, as a narrative structure. Using statistical algorithms to control nonlinear narrative hypermedia 2011/DiegoBonillaUSA.pdf esa% Gemma Aguilar 13 The reflection of the gaze: the need for a conscious spectator Baettlegroup for Art34 Not very clear distance of more than twenty years between these two texts, if we do not go to his identification footer. In any case, what is decisive? Nor is t ranscendent medium in which the fragmentation takes place at which both allude. Similarly, hyperlinked texts and contexts distant in time, between the Book of p asajes35 of Walter Benjamin or My abuelo36 Valérie blog Mrejen and narrative dis sonances there are more tunes that compilation. The poetic method in action: Benjamin is sensitive to the most strange, exceptio nal, highly individual to experience, discover rare in the general meaning, rath er than look for the usual general and accumulation of same. His gaze is fragmen tary, not because they renounce all, but because the search almost invisibles37 details. with its character fetishist personal (Universal) and All of them (hyper) linked to a greater or lesser extent, in Mnemosyne Atlas38 A by Warburg: At seventy years after his death, the legacy of Warburg is impeccable. The fragm entary, open, unfinished, displacement and the unstable, wavy line, the primum m obile, the Dionysian, in short, are the signs that define the legacy 34 35 36 37

Baettlegroup for Art, Walter Benjamin, bo ok tickets, Akal, Madrid, 2005 Valérie Mrejen, My grandfather, Peripheral Editor ial, Murcia, 2007 Beatriz Sarlo, " The writing workshop, "Seven essays on Walter Benjamin, Fund Cultura Economica, Buenos Aires, 2000, p. 26 38 Mathias Bruhn, and Hypertext Encyclopedia, Aby Warburg (1866-1929). The Survival of an Idea, Gemma Aguilar 14 The reflection of the gaze: the need for a conscious spectator one of the most influential art critics of the twentieth century. His gravitatio n on the new century seems asegurada.39 Aby Warburg, Mnemosyne Atlas We checked efinitions (objects: ic web, to s in which in our days, and the paradox that the more diffuse appear to us the d of the terms we use to identify areas of knowledge, the more we label files, images, ...), as in posts If the process of shaping the semant see us stripped (by progressive disability) of hierarchical structure we used to locate content.

Ghitalla Franck, Visualizing the online debate on the European Constitution40 In this sense, the project The Tulse Luper Suitcases41 of Peter Greenaway (2003) , is built from the object classified and inventoried in an encyclopedic will co ver the representation of the world around a character, giving an aspect 39 Alejandro Oliveros, A legacy of images, the atlas of the memory of Aby Warburg, 40 41 Visualizing the online debate on the European Constitution, actually http://tiny recreation of The Falls (1978), facilitated by new technologies Gemma Aguilar 15 The reflection of the gaze: the need for a conscious spectator subjective to an objective technical definition. It is linked closely with the r omantic spirit that translates so well in Hugo von Hofmannsthal Chandos42 Letter Lord. Peter Greenaway, The Tulse Luper Suitcases On the way from Romanticism to the present confluence of both conceptual art and Dadaism and Surrealism. The proximity of certain works of Annette Messager43, S ophie and Christian Calle44 Boltanski45 is undeniable. Sophie Calle, Birthday Ritual, 1981

Christian Boltanski, 1994 Thus,€the ability to "sum up" in personal property or the value of the object us ed to us from the frantic pace of capitalist consumption 42 43 44 45 von Hofmannsthal, Hugo, Lord Chandos Letter, Photo-Library Yerba, Murcia, 1981 c an think Histoires to steal the work of Annette Messager, 1990 Ritual choose the image of birthday, Sophie Calle, 1980-1996 the selected works of Christian Bolt anski esInventaire ayant des objects à appartenu vielle dame joins the Baden-Baden, 1973 Gemma Aguilar 16 The reflection of the gaze: the need for a conscious spectator (Accelerated each second) lags almost an object during its production process, b efore it is sold. Liquid life is a life consuming. Assign the world and all animate and inanimate fragments of the role of objects of consumption: that is, items which lose their usefulness (and therefore its luster, its attraction, its seductive power and v alue) over the same act of being used. Provided further trial and evaluation of all animate and inanimate pieces of the world fit the pattern of such objects co nsumo46. Annette Messager, Histoires des robes, 1990 between memory and forgetting: toward others (nuevas_?) narratives through two e xamples of narratives (literary and hypermedia) distant in time as the two contr asting events of the previous block of content (Deleuze-Guattari-Landow) see how two authors, Borges and Diego Bonilla, come to a similar strategy to justify th e break with linear narrative structure. Both Borges and Diego Funes memorioso47 Bonilla in A Space of Time48, choose a dysfunction in memory of his narrators. Vincenzo Vitiello tells us about the work of Borges: 1. A story-a fiction, an artifice, "Borges tells about the memory. Narra, becaus e here the memory is not a concept or idea, an abstract representation of a univ ersal power of the mind. It is a character Ireneo Funes, a young mestizo son of a laundress of Fray Bentos, a town in Argentina, and a doctor 46 47 48 Bauman Zygmunt, op. cit., pp. 18, 19 Jorge Luis Borges, Funes the memoirist, htt p:// Diego Bonilla Castañeda, A Space of Time, Gemma Aguilar 17 The reflection of the gaze: the need for a conscious spectator English. A wild horse ran over Irenaeus age of nineteen, leaving him paralyzed. But the coup by which froze had given both the gift of remembering everything. A ll: not only the tree and the branch and the spider hangs suspended in the air, its invisible thread, not just the dog and the stone-view once, just once, "not only the number and the figure the word once, once, had occasion to imagine or h ear, but it all: the various transformations of the plant varies according to su nlight, the slightest vibration of the branch, each of the movements the legs of the spider, the positions of the dog run, the most subtle roughness of the ston e, the differences of 5 to 25 and 52, the various lengths of the sides of an irr egular polygon and "aes" "Mary" . Everything. And yet, before his disgrace, Iren

eo Funes was no different at all from demás49. Diego Bonilla Castañeda himself, explains his creative process: A Space of Time, 50 since its conception, is a project that is conceptually the structure of history as narrative, the nonlinear form developed for the project was developed in parallel with the visual narrative. The main narrator is an old tramp with a mental illness known as temporal lobe epilepsy. " Unlike epilepsy "grand mal" with generalized seizures, the temporal lobe epilepsy is focal and o ccurs within the brain. The temporal lobe controls the processing of emotions an d feelings, and when it is affected by electrical discharges are generated sympt oms such as auditory and visual hallucinations, feelings of déjà vu and jamais v u, feelings and religious experiences and macropsia micropsia, among others. Epi leptic seizures can occur in isolation or as a recurring condition. The disease' s main narrator interacts with the narrative structure of the work, which, thoug h flexible, has a main timeline is interspersed with parallel narratives. [...] The narrator, instead of telling what the character thinks indirectly uses the f ilter of consciousness [...] and all that brooding protagonist's brain is expose d in a flowing interior monologue. The stream of consciousness translates into a succession of words. "51 49 Vincenzo Vitiello, Borges. Memory and language. Circulo de Bellas Artes, Madrid, 2007, p. 20 50 Diego Bonilla, Castaneda, A Space of Time, Gemma Aguilar 18 The reflection of the gaze: the need for a conscious spectator The question of memory as a hub of culture as the narrative and representational conventions, focuses the work of British artist Emma Kay, who likewise brings i nto question both the data value itself as the storage of individual. The memory of the idea is not first memory and then forgotten. That's the myth, not realit y of knowledge. Universally known to forget. Because the universal erases the de tails, to keep only the details, to keep only the essentials. What is unique as such is olvidado52. Emma Kay, The World from Memory Still used to manage not only the book but the library file with its physicality and access protocol, frequented increasingly digital files in which raw transie nce, immediacy and ubiquity, consistent with our temporality líquida53. 51 Diego Bonilla, as a narrative structure, 2011/DiegoBonillaUSA.pdf esa% 52 Vincenzo Vitiello, Borges. Memory and Language, "Ireneo Funes, the memory space, Circulo de Bellas Artes, Madrid, 2007, p. 22 53

Currently, we are all the Alice that Lewis Carroll warned that "what is here you see, you need to run everything one can to stay in the same place. If you wa nt to go somewhere else you have to run at least twice as fast. "The search for an elusive individuality leaves little time for anything else. There are always new symbols of distinction on offer that promise to bring us to our goal and con vince all which are with us in the street or visit our home, in fact, we've met, but these new brands invalidate those which promised to do the same just a mont h or a day before. In the game of individuality there is no time for a breather. Zygmunt Bauman, op. cit, pp. 36-37 Gemma Aguilar 19 The reflection of the gaze: the need for a conscious spectator Cultural Reflections on cognition, knowledge, and memory, however, are rare Thes e Days, "Uncle Tom the" memory industry "and Developments in artificial intellig ence. Discussions of cognition and memory are Usually confined to the philosophy of mind or cognitive psychology, Español Which is why the artist Emma Kay's Rec ent work on cognition, memory, and Knowledge is Particularly Engaging, Given ITS artistic context. Kay's incorporation of Various feats of Memorization Into her art-drawing a map of the world from memory complete with place names, rewriting the Bible and the plots of Shakespeare's plays from memory-Clearly Recalls the braggadocio of the music hall memory men, farrier mediated by the discipline of the junior high school classroom54. Increasingly, the memory that no longer need the material record of the data to become the herramientas_líquidas conocimiento_líquido enabling their location or their tracks (sometimes with the help of mnemonic elements as crumbs pan55: Internet, although it's the truism by now, is based on hypertext and, increasing ly, the direct jump from the Browser. So, surfing the Internet is as complex as moving through the forest where Hansel and Gretel56 feared lost). 54 John Roberts, The Practice of failure, 55 Juan Carlos Garcia, The Brothers Grimm and Usability. The trail of bread crumbs, 56 Since budgets Ozon narrative there is no evident interest in verisimilitude. The conventions of probability are omitted, and referred to a code of ambiguous reality, hybrid, distributed among youth stereotypes and influences coming from children's literature. Preserving the same idea of ambiguity, feelings of the ch aracters are never identified, interventions by caring and overt hatred, there i s a vague notion of who he loves and who hates. At the same time, this vagueness appears to be constructed to measure the perception that the director is of ado lescence, a turbulent era in which the sexual drive is a problematic factor, unr esolved, and always subject to be modified. [...] On the other hand, there is a post to the narrative conventions of fairy tales, with forests and players alway s intimidated 'naughty'. The fable of Hansel and Gretel is metatext clear: a cou ple of children who are lost and can not find the way back they thought they had marked (breadcrumbs on the literary, shoe prints on the tape). After suffering of desperation by hunger,€find a house that seems to have food (sweets made in t

he story, a log cabin covered by grass in the second). And the inhabitant of the house turns out to be a persona non grata (witch and an ogre literary no less, the same logic, respectively). Several of the formal parameters in the service o f this allusion to the fantastic: a photograph of Gemma Aguilar 20 The reflection of the gaze: the need for a conscious spectator that lead. But like the breadcrumbs have always been words, seems to want to sug gest the analytical etimológicopsicológica by Serres leads us in reference to th e Horla, Guy de Maupassant story: Hors-off-comes from FORIS or forestry, which means it is well known, the front d oor to the outside, forum should mean at first the fence surrounding the home, g arden or lawn, before designating the public square in the city. The family that preposition semantics is ordered as a movement little by little, the closest to the farthest: the door to the doorway to the nearby area, and then to the marke t square outside ... no one covers both fixed sites as a shift by analytic conti nuation careful. And the whole story follows this same path. [...] Similarly, th e forest [fôret] belongs to the king's court. [...] That's the psychology, disci pline variable, unfortunately ignorant of espacio57. Ellen Kooi We thus digitaldependientes increasingly sophisticated devices that make up our pack protésicos58 survival (imprescindible_?) contrasting colors and intense, a show that favors contemplative spaces on the u biquity of the word. About Les amants criminels (François Ozon), Omar Zúñiga Hid algo, Les Amants Criminels, disturbing fairy tale, _campo/los_amantes_criminales/ 57 58 Michel Serres, "Mapping of the story", op cit, pp. 66, 67 All human beings, thei r biological body, muscular, animal, has become the mechanical prostheses. Our own brain and not in us, fluctuates around us in the innumerable ramifications airwaves and we cirdundan. Jean Baudrillard, and subje ct videosphere fractal Gemma Aguilar 21 The reflection of the gaze: the need for a conscious spectator A man sets himself the task of portraying the world. Over the years he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fish es, rooms, instruments, stars, horses and people. Shortly before his death, he d iscovers that the patient labyrinth of lines traces the image of his cara59. 59 Jorge Luis Borges, The Maker, referred to by Vincenzo Vitiello, Borges. Memory a nd Language, Circulo de Bellas Artes, Madrid, 2007 Gemma Aguilar 22