Vivir tras la catástrofe. El arte como intersección entre la imagen viviente y la conciencia. Una aproximación a la serie 'Chernobyl' desde la ontología de la imagen
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Fecha
2020
Autores
Pallarès-Piquer, Marc
Hernández, J. Diego
Castañeda, W. José
Osorio, Francisco
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Ediciones Complutense
Resumen
El presente artículo se aproxima a la catástrofe a partir de la serie Chernobyl haciendo un ejercicio investigativo orientado entre el análisis y la trasgresión para indagar nuestra contemporaneidad a partir de establecer una actitud interpretativa que considera el contenido de la serie como base del desafío de la acción y el desborde de la técnica moderna, asunto que será tratado desde las operaciones de pensamiento de Heidegger y Deleuze, lo cual constituye un entretejido que logra religar las posiciones de estos filósofos. La elección de Chernobyl queda justificada por tratarse de una muestra de la interacción intermedial en la que se han convertido algunas series, al contar con unos contenidos que van allá del mero entretenimiento y que se erigen en producciones audiovisuales que tocan las dimensiones más hondas y complejas de nuestra existencia. Razón por la cual, constituye un entorno reflexivo fundamental para pensar la intersección entre la imagen viviente y la conciencia.
This article approaches the catastrophe from the Chernobyl series, by conducting a research exercise-oriented between analysis and transgression to investigate our contemporaneity, from establishing an interpretive attitude that considers the content as the basis of the action challenge and the overflow of modern technique, a matter that will be dealt with from the thinking operations of Heidegger and Deleuze, which constitutes an interweave that critically achieves the positions of these philosophers regarding the mentioned filmic work. The choice of Chernobyl is justified by being a sample of the intermediate interaction in the series that has converted some series, by having the contents that go beyond mere entertainment and that are erected in audiovisual productions that touch the deepest dimensions and complexity of our existence. Reason for quality is a fundamental environment to think the intersection between the living image and consciousness.
This article approaches the catastrophe from the Chernobyl series, by conducting a research exercise-oriented between analysis and transgression to investigate our contemporaneity, from establishing an interpretive attitude that considers the content as the basis of the action challenge and the overflow of modern technique, a matter that will be dealt with from the thinking operations of Heidegger and Deleuze, which constitutes an interweave that critically achieves the positions of these philosophers regarding the mentioned filmic work. The choice of Chernobyl is justified by being a sample of the intermediate interaction in the series that has converted some series, by having the contents that go beyond mere entertainment and that are erected in audiovisual productions that touch the deepest dimensions and complexity of our existence. Reason for quality is a fundamental environment to think the intersection between the living image and consciousness.
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Palabras clave
Catástrofe, Conciencia, Imagen, Arte, Educación ciudadana, Narrativa audiovisual, Catastrophe, Consciousness, Art, Civic education, Audiovisual narrative