“Atlas”: a surrealist film about the fantasies of cruelty in science

Cuqui Jakob recommended anecdotes from his opinion Christofredo Jakob, an important neurobiologist who contracted for the Argentine government as the head of the laboratory of the National Hospital of the Aliens to modernize his mental institutes and principles of the XX century.

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Vanidosos e intrepidos, Prometeo y su hermano Atlas pretendien enfrentar a los dioses olympicos para arrebatarles su poder. Los dioses, demasiado humanos, en respuesta al asalto, aplicaron sobre ellos un punisto ejemplar. Mintras un buitre humbriento devoraba cotidianamente el higado de Prometeo, Atlas, en la otra punta del mundo, era obliado a sostener sobre sus hombros el peso entero de la bóveda celeste.

Lots of words, in the same time as a mediocre substance, To Warburgmentor, entro otros, de Walter Benjamin y George Didi-Huberman, pergeñó un projecto demential e inacabado, sesenta tablas que recopilan más de dos mil imágenes, a partir de las cuales compuna es specie de cartografía abierta e inconexa. The limits of this Atlas are impressive and the definitions of property are also valid. In reality, the Atlas warburgiano (Image Mnemosyne) is an order of relations, always susceptible to modification, which incites to think that there are images that make with them and that they can. The visual archive of Warburg (search for the person who had many historians, probable all of them) is based on the concept of the Atlas in the definition of a catalog, as a system built to build the established criteria.

One of the most famous stories in Warburg is that in Aby, according to the condition of a friend in a family of German-speaking banks, the correspondence of the friends of the fortune is known as the destiny as the order. Pero Aby tuvo la siguiente obcurrencia, le ofreció a su hermano Max la cesión de la primogenitura, y con ella el manejo de la descomunal herencia, a cambio del compromiso fraterno de brindarle una disponibilidad económica absoluta para adquirira lian. At the time of the translation in London, in 1933, dedicated to the National Socialist Hogera, the library congregated 60,000 volumes.

Between 1921 and 1924, many years before death, Warburg was housed in a neurological clinic under the direct treatment of Ludwig Binswangerpsychiatrist suizo que revolucionaría la investigación sobre enfermedades mental.

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Hans Sachsrelease from Sigmund Freudle hace decir a su Master and friend (así se titula la biografía) que sólo enfocando las ideas en un interés central se pueden realizar grandes descubrimientos. This, just, is the investigator’s case Christofredo Jakobwho, thank you for the promise of Amancio AlcortaMinister of External Relations, facilitating cerebral care in a superior country available in Germany, was born in Argentina in 1899. Alfred Hicthcock y Jorge Luis Borges) that the beginning of the history of Atlasconducted by por Ignacio Masllorens y Guadalupe Gaona.

The documentary lens is captured quickly: in view of life and work Christofredo Jakoba man obsessed with cerebral investment, author, junto a Clemente Onellidirector of the Zoo of Buenos Aires, the famous Atlas del cerebro de los mamíferos de la República Argentina (1913). For this, the directors of the film (fundamental term in this film) process the genres, familiar with the family, visit the places of work, read information, read photos, disclose secrets, solicit the reference to references.

Without embargo, the approximation of the material, between the details and the fragment, the testimonies of the lacunares, the ambiguous exegesis about the theories of Jacob, the enchantment of images, the beautiful registers of the epoch, the versions of the crucifixes, the provocation of the hospital that the paraphernalia of documentalism is seen as fallida, y de la falla, polvo y ruina.

Afiche de
“Atlas” by Ignacio Masllorens and Guadalupe Gaona

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Ruin and polva representative, basically, signs of destruction. Respectfully, there is a medullary article Walter Benajmin titled “The Destructive Character”:

The character is destructive but not really durable. But because we are the same as all the porters. Donde otros tropiezan con muros o con montañas, el ve también un camino. Y como lo ve por todas partes, por eso tiene simper algo que dejar en la cuneta. And not always with violent violin, but with refined violent violet. Como por todas partes ve caminos, está siempre en la encrucijada. An instant one is able to find out what he wants to do next. Hace escombros de lo existente, y no por los escombros mismos, sino por el camino que pasa a través de ellos.

But these elements are characterized by destruction (we must verify that the ruins of the years before the destruction of the land, we know that we are born and we are born) also conspired to conform to a single atmosphere, the dream. The oneiric effect, en Atlastake a look at the presentation of the tram photo of alienadas observances like you are living and by the superposition systematics of times and images, typical of surrealism, brazzo armado of vanguard art in your real life think that the vigil measure: Atlas it is a surrealist documentary about the fashion that is a movie or a series of David Lynchbecause of the dialogue with the fantasies.

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The history of Christofredo Jakob contains elements of a history of terror (the music of Ezequiel Kronenberg –Menudo apellido– ahonda la tensión y el suspenso) protagonizada por muertos, disseccionados, enterrados, resucitados, aunque el terror se matiza gracias a un contrapunto hilarante, para no escribir delirante, la entrevista a la nieta y la bisnieta del doctor Jako. In these episodes, family members are reversed by the element of onyricism, which can be disrupted by a space due to the fact that the child is born. The test of determination is the relationship between the mother and the girl, her thoughts are anachronistic characters, enveloped in a branch of the branch without advances, tyrants, tended to a conflicting origin.

Yo no puedo dejar de ver en las interrevistadas el aura de las mujeres del hospital psyquiatrico en el que trabajaba Jakob, como si los planos de realidad se superpusieran, como si nieta y bisnieta fuesen contemporaneas de las alienadas, pero, por supuesto, en un time alley of the arduos mandates of chronology. It is open from other dimensions of the film, dimensions, including, for directors.

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In the transcendence of the film we note a devastation, the faith of Professor Jakob makes the images. Atlas trata sobre la imagen (lo señala casi al pasar Masllorens when introducing the game in Malba). Entonces las cosas cambian, porque además del intento infructuoso de documentar la vida de un hombre, Atlas converts to “a machine to think about images, an artifact designed to make correspondences, to evoke analogies”, say indication To Warburg in an unsaciable project.

Atlas needs the potential of images, images that you want, that you want to lose, irreparable images (like the aliens) and that you can find a real fiber. The term Nachleben, associated with the three characters mentally initiated (Warburg, Benjamin, Huberman), can be productive and so much to reflect on “the life of the difference in the memory of the victims”, the sea, the quedaron, the queens no han death. The defunct, in the midst of war, went on to die, and advertise, protest, wanting to live between us, in our memory: insiste, incomoda, nos inquieta. This is rebela contra el olvido. Here is the power of images. No su poder, sino lo que pueden frente a lo insoportable real.

Omití un dato de color, Aby Warburg y Christofredo Jakob nacieron el mismo año, 1866, en Alemania, uno en Hamburgo, el otro en Baviera.

Cuki Jakob
Cuki Jakob

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Atlas navega en apeas impenetrables: la biografía de un hombre, el cerebro humano, las locas del hospico, el tigre que pasea en su jaula, el pavo real desplegando su corona, el condor anhelante, la montaña, la naturaleza. The film is in front of the infinite limit of the positivist desire to know, con sus raíces ancladas en la Modernidad. All this is the idea of ​​nature as an object of cognition, natural recurrence, object of dominance. But he was careful to demonize the positivism in the past, of this current, by the passion of contradiction, surgeon’s opinion of bisagra, radicals, Nietzsche, Marx, Freudwe look forward to your ascendancy.

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During the final minutes, the camera is obsessed with perforating textures, photos, maps, diagrams, demos in the past, preserves the experience of establishing a point of support that sustains the state for a condensed discourse of resolution. But to the larga, the unique recognizable sera la propia mirada.

Atlas it is “a biography about the world” (Masllorens dictation on the subject of whatsapp), about what we know, what we have. Lo vee nos vos devuelve la mirada (pasamos casi seis minutos hipnotizados por los rostros de las alienadas), la potencia phantasmagorica de esas mujeres, capturadas en fotografias cuyo destino era arder para siempre en la noche de los tiempos, igual que brujas; all the words of the image, when everything is real, the word of the tenth, the word of the destructive, the art of memory and the ante of the dollar (of the demise).

Patients of the Alienadas Hospital, Hoy Moyano Hospital
Patients of the Alienadas Hospital, Hoy Moyano Hospital

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The spectator contemplates the zoological visitors (other places for accommodation), the visitor to the enclosed animals, the medical observers observe the human anatomy, open the bodies and heads to see what he wants, the peace of mind of my photos the chamber and the emitter for diagnostics, the mother and her revisan el pasado, recuerdan un cartel al pie de la montaña que conduce a “La mirada del doctor”, y esa mirada, dice la nieta, “es el profesor Jakob”; es una vista desde la montaña, y desde ahí, dice la bisnieta “se miraba la mirada del doctor”; the directors, finally, take him to the mirage of science.

The method of archeology of Gaona-Maslorens excavates in the superposition of images, hereditary constructions, entrelazadas in a fiesta of relations, consciences and inconsistencies, luminosities of precarias, in constant mutation and resentment: Atlas dissection of the world of children and at the same time subpraya su propia operation: mirar como ejercicio metodológico, estético, politico. Deshabituar la mirada (another principle of the art of vanguardia). See the other form, quiz.

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In 2010, George Didi-Huberman attended the exhibition Atlas, in the Reina Sofía Museum. The words that make the catalog, incisive and exact (Didi-Huberman suele dar en la tecla), describe a very important aspect of our work Atlas: “Es, pues, el tiempo mismo el que se vuelve visible en el montaje de imágenes. Corresponding to the cada cual –artista o sabio, pensador o poeta– ​​convertir tal visibilidad en la potencia de ver los tiempos: un recurso para observar la historia, para poder manejar la arqueología y la critika politica, ‘desmontándola’ para imaginar modelos alternativos ”.

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To the best of Cuqui, the net of the old Jacob, the reason for being in a fire of the camp is to say: “From the thought that we are all locos”.

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