{"id":9226,"date":"2017-06-30T00:10:02","date_gmt":"2017-06-29T22:10:02","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=9226"},"modified":"2018-04-23T19:45:33","modified_gmt":"2018-04-23T17:45:33","slug":"el-futuro-del-pasado-sergio-de-miguel","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/el-futuro-del-pasado-sergio-de-miguel\/","title":{"rendered":"El futuro del pasado | Sergio de Miguel"},"content":{"rendered":"

\"\"<\/a>
T\u00edtulo: Gattaca<\/span>
Protagonistas: Ethan Hawke, Uma Thurman<\/span>
Fotograf\u00eda: Slawomir Idziak<\/span>
M\u00fasica: Michael Nyman<\/span>
Producci\u00f3n: Danny de Vito, Michael Shamberg, Stacey Sher<\/span>
Direcci\u00f3n: Andrew Niccol<\/span><\/figcaption><\/figure><\/p>\n

El futuro. La Tierra no est\u00e1 destruida por la hecatombe nuclear, ni tampoco est\u00e1 infestada de exageradas m\u00e1quinas, sufre las consecuencias de una desnaturalizada evoluci\u00f3n de la gen\u00e9tica. La lucha de clases ya no es econ\u00f3mica, ni siquiera racial, sino que est\u00e1 basada en la pureza del ADN. El relato humano valora el esp\u00edritu de superaci\u00f3n y la exaltaci\u00f3n de la voluntad. M\u00e1s all\u00e1 de la tiran\u00eda de los genes.<\/p>\n

La ficci\u00f3n siempre ha profetizado el futuro como lo que no es el presente. Habitualmente, viajar en el tiempo ha sido cuesti\u00f3n de recrear la vista con im\u00e1genes inveros\u00edmiles desde la perspectiva del presente. Pero en Gattaca, a\u00fan siendo todo muy reconocible, lo que transporta al futuro es, junto con la historia, el car\u00e1cter de las cosas. Y ante todo la arquitectura.<\/p>\n

El p\u00fablico es llevado a interpretar el complejo Gattaca, el edificio donde transcurre la trama, como una conseguida ambientaci\u00f3n futurista; misterioso y ajeno frente a una naturaleza sin protagonismo. Sin embargo, se trata de uno de los \u00faltimos edificios de Frank Lloyd Wright, construido a finales de los cincuenta. Asimismo, buena parte del juego escenogr\u00e1fico se centra en disfrutar con la perfecci\u00f3n de los di\u00e1fanos ambientes de hormig\u00f3n armado y las exquisitas estancias en donde livianas escaleras helicoidales (\u00bfADN?), muebles de los maestros modernos, superficies de acero inoxidable mate y vidrios a hueso nos hacen vivir una realidad diferente. Se trata de artefactos en los que, de manera natural, predomina la pureza de la geometr\u00eda y la ausencia de elementos decorativos. Y eso, curiosamente, aparece como una veraz representaci\u00f3n de lo que no es el presente. Sorprende evidenciar que el espectador reconoce en esas formas, en esos materiales, en esos objetos, posibilidades pertenecientes al ma\u00f1ana.<\/p>\n

Pero basta con detenerse para comprobar que la pel\u00edcula est\u00e1 deliberadamente ambientada con im\u00e1genes de hace cincuenta a\u00f1os. El vestuario, los autom\u00f3viles y los edificios responden a una est\u00e9tica perteneciente a los a\u00f1os cincuenta. Porque el tiempo, al menos en el cine, es reversible.<\/p>\n

Al perder la referencia del contexto se altera el sentido de la realidad. La desorientaci\u00f3n aparece con el extra\u00f1amiento frente a los objetos cotidianos. Y llegar a localizar la escena en el futuro (frente al pasado) es cuesti\u00f3n de incorporar algo de sofisticada tecnolog\u00eda y una historia basada en la gen\u00e9tica, poco m\u00e1s.<\/p>\n

El cine es el gran arte de la ficci\u00f3n. En \u00e9l coinciden m\u00faltiples habilidades que tienen como objeto dominar la imagen, la m\u00fasica, la narrativa, las artes pl\u00e1sticas, la tecnolog\u00eda\u2026 y sobretodo, la dif\u00edcil facultad de trastocar el sentido del tiempo.<\/p>\n

Si atendemos al mago Borges cuando razona:<\/p>\n

\n

\u201cla l\u00ednea consta de un n\u00famero infinito de puntos; el plano, de un n\u00famero infinito de l\u00edneas; el volumen, de un n\u00famero infinito de planos; el hipervolumen, de un n\u00famero infinito de vol\u00famenes\u2026\u201d ,<\/em><\/p>\n<\/blockquote>\n

y somos capaces de reconocer no s\u00f3lo un evolucionado concepto del espacio, sino adem\u00e1s, una nueva manera de sentir el tiempo, quedar\u00e1 superada la milenaria imagen de Her\u00e1clito, en la que el tiempo se asemeja a un r\u00edo, lineal e invariable. M\u00e1s a\u00fan, si vemos en el tiempo una cualidad propia de las presencias, con todas sus dimensiones y unida a sus caracter\u00edsticas espaciales, estaremos ante una m\u00e1s precisa noci\u00f3n de la realidad. Caeremos en la cuenta de que el concepto tiempo est\u00e1 inseparablemente ligado a las cosas.<\/p>\n

El cine es a lo fant\u00e1stico lo que la arquitectura es a lo ver\u00eddico. Si el cine satisface el deseo de ficci\u00f3n la arquitectura permite vivir la realidad. Por qu\u00e9 no admitir entonces que en la arquitectura, al igual que en el cine, existe la posibilidad de jugar con la sensaci\u00f3n de localizaci\u00f3n, y que se puede prolongar la acci\u00f3n m\u00e1s all\u00e1 de la percepci\u00f3n est\u00e1tica de las emociones meramente espaciales. \u00bfSer\u00eda posible imaginar una arquitectura sin capacidad de inocular el sentido del tiempo? D\u00f3nde est\u00e1 el \u201cilusionismo\u201d. C\u00f3mo se consigue \u201cconmover\u201d.<\/p>\n

En cualquier caso, lo mejor de Gattaca, puede que sea la melanc\u00f3lica mirada de Uma Thurman.<\/p>\n

Sergio de Miguel, arquitecto
\nMadrid, abril 2010<\/p>\n

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

El futuro. La Tierra no est\u00e1 destruida por la hecatombe nuclear, ni tampoco est\u00e1 infestada de exageradas m\u00e1quinas, sufre las consecuencias de una desnaturalizada evoluci\u00f3n de la gen\u00e9tica. La lucha de clases ya no es econ\u00f3mica, ni siquiera racial, sino que est\u00e1 basada en la pureza del ADN. El relato humano valora el esp\u00edritu de […]<\/p>\n","protected":false},"author":24,"featured_media":53879,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36,3,1460,5951],"tags":[12448,11951,12449,12471,318,605,616,3639,815,5945],"class_list":{"0":"post-9226","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arte-blog","8":"category-capturas","9":"category-cine","10":"category-slider-principal","11":"tag-arquitectura","12":"tag-arquitectura-americana","13":"tag-arte","14":"tag-cine","15":"tag-ciudad","16":"tag-frank-lloyd-wright","17":"tag-futuro","18":"tag-jorge-luis-borges","19":"tag-maestro","20":"tag-sergio-de-miguel"},"yoast_head":"\nEl futuro del pasado | Sergio de Miguel<\/title>\n<meta name=\"description\" content=\"El futuro del pasado\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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