{"id":67449,"date":"2018-03-30T00:02:38","date_gmt":"2018-03-29T22:02:38","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=67449"},"modified":"2018-04-24T12:16:57","modified_gmt":"2018-04-24T10:16:57","slug":"ojo-del-ciclope-jorge-meijide","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/ojo-del-ciclope-jorge-meijide\/","title":{"rendered":"[:es]El ojo del c\u00edclope | Jorge Meijide[:gl]O ollo do c\u00edclope | Jorge Meijide[:en]The eye of the cyclops | Jorge Meijide[:]"},"content":{"rendered":"

[:es]

\"Ilustraci\u00f3n
Ilustraci\u00f3n de El medio es el masaje, el cl\u00e1sico de Marshall McLuhan<\/span><\/figcaption><\/figure><\/p>\n

Ojos que no ven, coraz\u00f3n que no siente…<\/strong><\/p>\n

no me reconozco, estoy ajeno a m\u00ed mismo. No me reconozco porque mi alrededor es ajeno a m\u00ed. Gente hace cosas a mi alrededor. Mucha gente, muchas cosas, otras cosas, cosas duplicadas, cosas multiplicadas. La vida del otro\u00a0 es ajena.<\/p>\n

\n

\u00a1C\u00f3mo si no, yo no soy el otro! <\/strong><\/p>\n<\/blockquote>\n

La mirada te \u00a0sit\u00faa en relaci\u00f3n con los dem\u00e1s. La mirada desde dentro, la mirada externa pasa y se va como el aire. No se queda y deja el aroma. No como el olor. El olor es recordado, es penetrante y persistente. A veces la vida del otro se queda. Pero no son t\u00fa. T\u00fa eres t\u00fa y los dem\u00e1s son los dem\u00e1s. Ni soy yo. Hay quien se funde con\u00a0 el otro y ya no es uno mismo.<\/p>\n

\n

\u00bfQui\u00e9n es uno mismo sin quedarse aislado? \u00bfQui\u00e9n puede permitirse ser solamente uno mismo? <\/strong><\/p>\n<\/blockquote>\n

Aislamiento. Separaci\u00f3n. Observar siempre da cierta ventaja, observar da distancia, pero t\u00fa tambi\u00e9n eres ellos, y t\u00fa y ellos es -son, sois- lo mismo. Hay quien se esfuerza en ser diferente a los dem\u00e1s y cuanto m\u00e1s lo intenta m\u00e1s parecido es. Mirar por mirar es un ejercicio interesante, una terapia, hasta que, otra vez, te das cuenta de que te miras a ti mismo.<\/p>\n

La ventana es un ojo, es un marco. Lo que se ve es otra cosa. Alicia a trav\u00e9s del espejo. Una pel\u00edcula. James Stewart, inm\u00f3vil en todo menos en el ojo, observa vidas. Sentado mira. Uno mira ventanas, mira calle, mira gente en sus vidas.<\/p>\n

El Nagakin<\/em><\/strong><\/a> te mira \u00bfqu\u00e9 otra cosa puede hacer con tantos ojos si no? El Nagakin<\/em><\/strong> es ahora peque\u00f1o, \u00edntimo. Como una caja de recuerdos. Una caja de memoria dentro de un caj\u00f3n en un armario de la buhardilla, guardado y permanente.<\/p>\n

\"Documental
Documental La Torre C\u00e1psula de Nakagin Eiky\u00f4, influencias japonesas<\/span><\/figcaption><\/figure>\n

Cada ventana es una. La premisa, la proposici\u00f3n es, era, lo que se ve. Tokio es denso, muy denso y espeso. Est\u00e1 lleno. Uno no es uno, son muchos. En el Nagakin<\/em><\/strong> es lo contrario, uno es uno. Una ventana, una c\u00e1psula, son una persona; es una torre individual, un edificio unipersonal; es una comunidad unipersonal, conjunto de individualidades.<\/p>\n

\n

\u00bfQu\u00e9 es si no la colectividad m\u00e1s que un conjunto -asociado y disociado a la vez- de individualidades? <\/strong><\/p>\n<\/blockquote>\n

Uno y los dem\u00e1s. Ortega nos recordaba con profunda lucidez filos\u00f3fica la relaci\u00f3n del espectador con la escena contemplada. Ambos son necesarios. Uno es en funci\u00f3n del otro, de la otra. Observar y ser observado. Actuar y mirar. Ver y ser visto.<\/p>\n

\n

\u00bfExiste algo si no lo observamos? \u00bfExiste algo cuando no lo vemos? <\/strong><\/p>\n<\/blockquote>\n

Schr\u00f6dinger se frotar\u00eda las manos. El austr\u00edaco, m\u00e1s tarde irland\u00e9s, nos confunde, pero en el fondo sabemos que el \u00e1rbol ca\u00eddo en el bosque, aunque no lo oigamos, ni lo veamos, est\u00e1 ca\u00eddo y sigue ca\u00eddo, seguir\u00e1 ca\u00eddo. El gato no est\u00e1 muerto y vivo a la vez.<\/p>\n

\n

\u00bfO s\u00ed? <\/strong><\/p>\n<\/blockquote>\n

El gallego duda si sube o baja, dec\u00eda Sota. El de Duchamp<\/strong><\/a> baja lentamente, eternamente. La incertidumbre no es certeza -ni lo contrario-. La vista tampoco lo es. Santo Tom\u00e1s<\/strong><\/a> lo atestigua, la llaga es real. El tacto fue necesario.<\/p>\n

Mirar y ver son dos cosas distintas. Tocar es otra cosa. Mirar es atestiguar, ver es comprender; como hablar es pronunciar, decir es enunciar y contar es convencer. Y as\u00ed muchas cosas.<\/p>\n

Nada es lo que parece y nada es lo que nos dicen. A\u00fan as\u00ed seguimos mirando y seguimos viendo; seguimos hablando y seguimos contando. Alguien nos oir\u00e1, alguien nos entender\u00e1, y quiz\u00e1s alguien, uno, solo uno, nos comprender\u00e1.<\/p>\n

Esperaremos pues.<\/p>\n

Jorge Meijide . Arquitecto
\nCoru\u00f1a. Noviembre\u00a02017<\/p>\n

Texto para el n\u00famero 14 de la revista engawa<\/em><\/a> a prop\u00f3sito de una imagen del edificio Nagakin propuesta como tema por Filipe Magalh\u0101es y Ana Luisa Soares. Escrito en junio de 2013 y revisado en noviembre de 2017.<\/span><\/p>\n

[:gl]

\"Ilustraci\u00f3n
Ilustraci\u00f3n de O\u00a0medio\u00a0\u00e9 a masaxe, el cl\u00e1sico de Marshall McLuhan<\/span><\/figcaption><\/figure><\/p>\n

Ollos que non ven, coraz\u00f3n que non sente…<\/strong><\/p>\n

non me reco\u00f1ezo, estou alleo a min mesmo. Non me reco\u00f1ezo porque o meu ao redor \u00e9 alleo a min. Xente fai cousas \u00e1 mi\u00f1a ao redor. Moita xente, moitas cousas, outras cousas, cousas duplicadas, cousas multiplicadas. A vida do outro \u00e9 allea.<\/p>\n

\n

Como se non, eu non son o outro!<\/strong><\/p>\n<\/blockquote>\n

A mirada sit\u00faache en relaci\u00f3n cos demais. A mirada desde dentro, a mirada externa pasa e vaise como o aire. Non queda e deixa o aroma. Non como o cheiro. O cheiro \u00e9 lembrado, \u00e9 penetrante e persistente. \u00c1s veces a vida do outro queda. Pero non son ti. Ti es ti e os demais son os demais. Nin son eu. Hai quen se funde co outro e xa non \u00e9 un mesmo.<\/p>\n

\n

Quen \u00e9 un mesmo sen quedar illado? Quen pode permitirse ser soamente uno mesmo?<\/strong><\/p>\n<\/blockquote>\n

Illamento. Separaci\u00f3n. Observar sempre d\u00e1 certa vantaxe, observar d\u00e1 distancia, pero ti tam\u00e9n es eles, e ti e eles \u00e9 -son, sodes- o mesmo. Hai quen se esforza en ser diferente aos demais e canto m\u00e1is o tenta m\u00e1is parecido \u00e9. Mirar por mirar \u00e9 un exercicio interesante, unha terapia, ata que, outra vez, d\u00e1sche conta de que che miras a ti mesmo.<\/p>\n

A xanela \u00e9 un ollo, \u00e9 un marco. O que se ve \u00e9 outra cousa. Alicia a trav\u00e9s do espello. Unha pel\u00edcula. James Stewart, inm\u00f3bil en todo menos no ollo, observa vidas. Sentado mira. Un mira xanelas, mira r\u00faa, mira xente nas s\u00faas vidas.<\/p>\n

O Nagakin<\/em><\/strong><\/a> m\u00edrache que outra cousa pode facer con tantos ollos se non? O Nagakin<\/strong> \u00e9 agora pequeno, \u00edntimo. Como unha caixa de recordos. Unha caixa de memoria dentro dun caix\u00f3n nun armario da bufarda, gardado e permanente.<\/p>\n

\"Documental
Documental\u00a0A Torre C\u00e1psula de Nakagin Eiky\u00f4, influencias xaponesas<\/span><\/figcaption><\/figure>\n

Cada xanela \u00e9 unha. A premisa, a proposici\u00f3n \u00e9, era, o que se ve. Tokio \u00e9 denso, moi denso e espeso. Est\u00e1 cheo. Un non \u00e9 un, son moitos. No Nagakin<\/strong> \u00e9 o contrario, un \u00e9 un. Unha xanela, unha c\u00e1psula, son unha persoa; \u00e9 unha torre individual, un edificio unipersonal; \u00e9 unha comunidade unipersonal, conxunto de individualidades.<\/p>\n

\n

Que \u00e9 se non a colectividade m\u00e1is que un conxunto -asociado e disociado \u00e1 vez- de individualidades?<\/strong><\/p>\n<\/blockquote>\n

Un e os demais. Ortega lembr\u00e1banos con profunda lucidez filos\u00f3fica a relaci\u00f3n do espectador coa escena contemplada. Ambos son necesarios. Un \u00e9 en funci\u00f3n do outro, da outra. Observar e ser observado. Actuar e mirar. Ver e ser visto.<\/p>\n

\n

Existe algo se non o observamos? Existe algo cando non o vemos?<\/strong><\/p>\n<\/blockquote>\n

Schr\u00f6dinger fregar\u00edase as mans. O austr\u00edaco, m\u00e1is tarde irland\u00e9s, conf\u00fandenos, pero no fondo sabemos que a \u00e1rbore ca\u00edda no bosque, a\u00ednda que non o oiamos, nin o vexamos, est\u00e1 ca\u00eddo e segue ca\u00eddo, seguir\u00e1 ca\u00eddo. O gato non est\u00e1 morto e vivo \u00e1 vez<\/p>\n

\n

Ou si?<\/strong><\/p>\n<\/blockquote>\n

O galego dubida se sobe ou baixa, dic\u00eda Sota. O de Duchamp<\/strong><\/a> baixa lentamente, eternamente. A incerteza non \u00e9 certeza -nin o contrario-. A vista tampouco o \u00e9. Santo Tom\u00e1s<\/strong><\/a> testem\u00fa\u00f1ao, a chaga \u00e9 real. O tacto foi necesario.<\/p>\n

Mirar e ver son d\u00faas cousas distintas. Tocar \u00e9 outra cousa. Mirar \u00e9 testemu\u00f1ar, ver \u00e9 comprender; como falar \u00e9 pronunciar, dicir \u00e9 enunciar e contar \u00e9 convencer. E as\u00ed moitas cousas.<\/p>\n

Nada \u00e9 o que parece e nada \u00e9 o que nos din. A\u00ednda as\u00ed seguimos mirando e seguimos vendo; seguimos falando e seguimos contando. Algu\u00e9n nos oir\u00e1, algu\u00e9n nos entender\u00e1, e quizais algu\u00e9n, un, s\u00f3 un, comprenderanos.<\/p>\n

Esperaremos pois.<\/p>\n

Jorge Meijide . Arquitecto
\nCoru\u00f1a. Novembreo 2017<\/p>\n

Texto para\u00a0o\u00a0n\u00famero 14 da revista engawa<\/em><\/a> a prop\u00f3sito dunha imaxe do edificio Nagakin proposta como tema por Filipe Magalh\u0101es e Ana Luisa Soares. Escrito en xu\u00f1o de 2013\u00a0e revisado en novembro de 2017.<\/span><\/p>\n

[:en]

\"Ilustraci\u00f3n
Illustration of The way is the massage, the Marshall McLuhan’s classic one<\/span><\/figcaption><\/figure><\/p>\n

Out of sight, out of mind…<\/strong><\/p>\n

I do not recognize myself, am foreign to me itself. I do not recognize myself because my around it is foreign to me. People do things around me. Many people, many things, other things, duplicated things, multiplied things. The life of other one is foreign.<\/p>\n

\n

How if not, I am not other one!<\/strong><\/p>\n<\/blockquote>\n

The look places you in relation with the others. The look from inside, the external look happens and goes away as the air. The aroma does not remain and stops. Not as the smell. The smell is remembered, is penetrating and persistent. Sometimes the life of other one remains. But they are not you. You you are you and the others are the others. I am not even I. There is the one who fuses with other one and already it is not one itself.<\/p>\n

\n

The one who is one itself without remaining isolated? The one who can allow be only one same?<\/strong><\/p>\n<\/blockquote>\n

Isolation. Separation. To observe always gives certain advantage, to observe gives distance, but you also are they, and you and they it is – they are, you are – the same thing. There is the one who strains in being different from the others and the more it tries it the more similar it is. To look for looking is an interesting exercise, a therapy, until, again, you realize that you look to you itself.<\/p>\n

The window is an eye, is a frame. What one sees is another thing. Alicia across the mirror. A movie. James Stewart, immobile in everything less in the eye, observes lives. Sat gun-sight. One looks at windows, gun-sight is quiet, people look in his lives.<\/p>\n

The Nagakin<\/em><\/strong><\/a> looks at you what another thing can it do with so many eyes if not? The Nagakin<\/em><\/strong> is now small, intimate. As a box of recollections. A box of memory inside a booth in a cupboard of the garret, guarded and permanent.<\/p>\n

\"Documental
Documentary The Tower Nakagin Eiky\u00f4’s Capsule, Japanese influences<\/span><\/figcaption><\/figure>\n

Every window is one. The premise, the proposition is, it was, which one sees. Tokyo is dense, very dense and thick. It is full. One is not one, they are great. In the Nagakin<\/strong> it is the opposite, one is one. A window, a capsule, they are a person; it is an individual tower, an individual building; it is an individual community, set of individualities.<\/p>\n

\n

What is if not the collectivity more than a set – associate and separated to the time – of individualities?<\/strong><\/p>\n<\/blockquote>\n

One and the others. Imperial sand grouse us reminded with deep philosophical brilliancy the relation of the spectator with the contemplated scene. Both are necessary. One is depending on other one, of other one. To observe and to be observed. To act and to look. To see and to be seen.<\/p>\n

\n

Does something exist if we do not observe it? Does something exist when we do not see it?<\/strong><\/p>\n<\/blockquote>\n

Schr\u00f6dinger would rub the hands. The Austrian, later Irish, confuses us, but in the bottom we know that the tree fallen in the forest, though we neither hear it, we do not even see it, it is fallen and is still fallen, it will be still fallen. The cat is not dead and I live simultaneously.<\/p>\n

\n

Do you?<\/strong><\/p>\n<\/blockquote>\n

The Galician doubts if it rises or goes down, he was saying Jack. That of Duchamp<\/strong><\/a> goes down slowly, eternally. The uncertainty is not a certainty – not the opposite-. The sight it is not either. Santo Tom\u00e1s<\/strong><\/a> testifies it, the sore is royal. The tact was necessary.<\/p>\n

El gallego duda si sube o baja, dec\u00eda Sota. El de Duchamp<\/strong><\/a> baja lentamente, eternamente. La incertidumbre no es certeza -ni lo contrario-. La vista tampoco lo es. Santo Tom\u00e1s<\/strong><\/a> lo atestigua, la llaga es real. El tacto fue necesario.<\/p>\n

Look and to see are two different things. Touching is another thing. Looking is to testify, to see is to understand; since speaking is to declare, to say is to enunciate and to count is to convince. And this way many things.<\/p>\n

Nothing is what seems and nothing is what they say to us. Nonetheless we continue looking and see; we continue speaking and count. Someone will hear us, someone us will understand, and probably someone, one, only one, will understand us.<\/p>\n

We will wait so.<\/p>\n

Jorge Meijide . Architect
\nCoru\u00f1a. November 2017<\/p>\n

Text for the number 14 of the magazine engawa <\/a>about an image of the building Nagakin proposed as topic for Filipe Magalhaes and Ana Luisa Soares. Written in June, 2013 and checked in November, 2017.<\/span><\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Ojos que no ven, coraz\u00f3n que no siente… no me reconozco, estoy ajeno a m\u00ed mismo. No me reconozco porque mi alrededor es ajeno a m\u00ed. Gente hace cosas a mi alrededor. Mucha gente, muchas cosas, otras cosas, cosas duplicadas, cosas multiplicadas. La vida del otro\u00a0 es ajena. \u00a1C\u00f3mo si no, yo no soy […]<\/p>\n","protected":false},"author":47,"featured_media":67451,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[93,12448,3657,668,3462,2489,4356,1865,7925,6926,1278,2048],"class_list":["post-67449","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-alejandro-de-la-sota","tag-arquitectura","tag-arquitectura-japonesa","tag-historia","tag-jorge-meijide","tag-kisho-kurokawa","tag-marcel-duchamp","tag-reflexion","tag-revista-engawa","tag-santo-tomas-de-aquino","tag-teoria","tag-teoria-e-historia"],"yoast_head":"\n[:es]El ojo del c\u00edclope | Jorge Meijide[:gl]O ollo do c\u00edclope | Jorge Meijide[:en]The eye of the cyclops | Jorge Meijide[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]El ojo del c\u00edclope | Jorge Meijide[:gl]O ollo do c\u00edclope | Jorge Meijide[:en]The eye of the cyclops | Jorge Meijide[:]\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/ojo-del-ciclope-jorge-meijide\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]El ojo del c\u00edclope | Jorge Meijide[:gl]O ollo do c\u00edclope | Jorge Meijide[:en]The eye of the cyclops | Jorge Meijide[:] - 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