Geologia de l'Inefable / Geology of the Ineffable

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Publicació de l'exposició "Geologia de l'Inefable", seleccionat a la Convocatòria 2015 de Can Felipa Arts Visuals en la modalitat de Comissariat. Amb Aleix Plademunt, Alberto Feijóo, Bego Antón, Guillermo Ros, Johan Rosenmunthe i Jordi Mitjà. Comissariat per Widephoto. Del 17 de febrer al 16 d'abril del 2016.

Text of Geologia de l'Inefable / Geology of the Ineffable

  • Aleix Plademunt, Alberto Feijo, Bego Antn, Guillermo Ros, Johan Rosenmunthe i Jordi Mitj

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  • GeoloGia de linefable

    La meravellosa complexitat del mn en qu vivim ha envoltat de misteri, fascinaci, temor i curiositat la forma en qu ens hem relacionat amb el nostre entorn. Fenmens tan visibles i quotidians per intricats com la gravetat, van trigar segles a ser explicats empricament, la qual cosa va deixar la porta oberta per a tot tipus de creences i supersticions. L'inefable, all que no es pot explicar amb paraules, sha tractat de traduir i expressar per mitj de molts i molt diferents mitjans perseguint tota mena de propsits.

    La mort, per exemple, s encara avui te-muda per ser el final incert a la nostra exis-tncia. Alhora que s utilitzada per amenaar i espantar el prosme, la vam estudiar, amb l'objectiu d'endarrerir-la, burlar-la o fins i tot tractar deradicar-la. La incapacitat de donar una explicaci fundada sobre el nostre esde-venir desprs de creuar-ne el llindar, ens ha portat a crear tot un seguit de textos, ritus, imatges i objectes amb els quals gestionar el ms enll. Uns dels primers usos simblics de la roca va ser precisament el de construc-ci funerria en forma de menhir, dolmen o cromlec. Necrpolis on les restes mortals dels difunts eren dipositats a partir de finals

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  • del Neoltic, en l'anomenada edat de la pedra polida. Aquesta relaci entre la mort i les pe-dres que arrenca fa aproximadament 7.000 anys, segueix encara avui vigent en moltes cultures, en qu marbres i granits s'utilitzen en la construcci de lpides; i fins i tot han sorgit recentment innovadores iniciatives que converteixen les cendres del difunt sser es-timat en diamants sinttics.

    Per les pedres precioses no sn els nics materials naturals que la humanitat ha acon-seguit imitar, alterar o fins i tot crear grcies a la seva evoluci tecnolgica. A diferncia amb la resta de la fauna i la flora que ens envolta, la nostra rapidssima evoluci re-cent com a espcie no ha estat quasi fsica, sin eminentment intellectual, institucional i cultural. s aix, per mitj de l'agricultura i la ramaderia i descobrint els usos prctics dels seus materials a travs de la tecnologia, com hem escalat rpidament en la cadena alimentria per finalment aconseguir domi-nar el planeta. L'Antropoc1 defineix la nova era geolgica en la qual ens trobem, en qu l'impacte de l'sser hum en el planeta s per primera vegada el que marca l'esdevenir dels ecosistemes terrestres.

    Aquest nou equilibri en el qual -per b o per mal- els humans som els que marquem

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  • els passos a seguir del planeta, ens obliga a replantejar la nostra relaci no noms fsica, sin tamb emocional amb el nostre entorn. La pedra, l'element ms bsic i perdurable del nostre entorn, deixa de ser compresa com a mera matria fsica i, a ms d'admirar-ne la seva bellesa intrnseca, li atorguem poders simblics que ens ajuden a explicar all que la cincia encara no ha estat capa de desen-tranyar ni descartar. L'especfic ens parla lla-vors de la metafsica, i crea ponts entre dues condicions aparentment oposades.

    L'inefable, tal com apunta Lex thompson2, no es limita al que s sentit per indicible ni al visible per inexplicable, sin que inclou ambdues derivades. Malgrat la complexitat del seu significat, no pocs artistes i cient-fics han treballat al voltant d'aquesta idea. Romntics com Fiedrich Schlegel deien que hi ha realitats a les quals no es pot accedir si no s pel cam de l'art, que es converteix aix en una eina essencial per a l'expressi de l'inefable. Alhora, cientfics que treballen en la mquina ms gran mai construda per la humanitat, el CeRN, realitzen imatges tri-dimensionals com a mitj per visualitzar el funcionament de la fsica de partcules i aix poder establir-ne els fonaments que expli-quen l'origen del mn.

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  • La imatge, la fotogrfica en particular, en la seva condici de realitat tcnica encara que parcial, estticament explotada i subjec-tiva dall visible en la realitat, resulta espe-cialment indicada per recrrer aquest cam que arrenca en l'especificitat de la pedra i arriba a oferir algunes de les seves diverses facetes simbliques. Ms encara tenint en compte la prdua de suport fsic que est vi-vint el medi avui, en el cam a la seva demo-cratitzaci digital, que ha emps molts artis-tes a qestionar-se i experimentar al voltant de la materialitat de la imatge.

    Les riques i abundants lectures i usos allegrics que les pedres ofereixen ms enll dels seus contextos naturals formen el nucli d'aquesta Geologia de l'Inefable.

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  • El terme va ser encunyat pel Premi Nobel Paul Crutzen lany 2000 i est en procs de ser pro-posat a la Comissi Internacional dEstratigrafia perqu pugui ser aprovada durant lany 2016 per un grup de treball de cientfics que formen part de la Subcomissi dEstratigrafia del Quaternari. http://quaternary.stratigraphy.org/working-groups/anthropocene/

    http://www.lavalette.com/f-that-photography-and-the-ineffable/ (consultada el 2 de gener de 2016)

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  • GeoloGy of the ineffable

    We live in a wonderful and complex world in which mystery, fantasy, fear and curiosity have shrouded our way of relating to our en-vironment. throughout history, humanity has struggled to explain elusively intricate, yet vi-sible phenomena, such as gravity, leaving the door open for superstition. the ineffable, that is, the unutterable, or that which is incapable of being expressed or illustrated in language, leaves us to translate these phenomena in di-fferent ways, and express it to serve all kinds of purposes.

    death, for example, is still feared as the uncertain end to our existence. As an inesca-pable yet unimaginable circumstance of our existence, the idea of it can be used to threa-ten and scare our enemies. Yet, we study the reality of it, in order to delay it, circumvent it or even try to eradicate it. the desire to ex-plore an idea of death as a threshold we must cross, has led us to create a range of texts, rituals, images and objects that depict the afterlife. evidence of a prehistoric fascina-tion with death exists in the symbolic use of rocks in megalithic chamber tombs, known as cromlech, and individual dolmen or men-hir. elaborate stone monuments, Necropolis,

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  • evolved into cities of the dead in the late Neo-lithic period, nicknamed the Age of Polished Stone. this relationship between death and stones is as powerful today as it was 7,000 years ago: many cultures reserve the sta-tus-symbols of marble and granite for their tombstones. Now, the option exists to com-pact the ashes of your loved-ones into syn-thetic diamonds.

    But gems are not the only natural mate-rials that humanity has managed to imitate, alter or create. Unlike the rest of the animal kingdom, our rapid evolution as a species has been not just physical, but eminently intellec-tual, institutional and cultural. thus, humani-ty climbed rapidly in the food chain, achieving world domination, by developing settlements, agriculture, and technology: the practical use of the materials at hand. the Anthropocene1 defines a new geological era in which the evo-lution of terrestrial ecosystems is irreversibly influenced by human impact.

    this new equilibrium forces us to rethink our physical and emotional relationship with our environment. the stone is the most basic and enduring element of our environment, yet we can admire the intrinsic beauty in its phy-sicality, and imbue it with symbolic powers that help us to explain what science has not

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  • been able to unravel or conclude. it speaks then of the metaphysical, creating bridges between two seemingly opposite conditions: that of its heavy materiality and the immate-rial projections we place upon it.

    Lex thompson2 states that the ineffable includes two derivatives; one that holds the ineffable's relationship to the transcendent, and one to the inexpressible. despite the complexity of its meaning, countless artists and scientists have worked around the idea. As Friedrich Schlegel argued, there are rea-lities that can not be accessed except by the way of the artistic, which thus becomes an essential tool for expressing the inexpres-sible. Present-day scientists working on the biggest machine ever built by mankind, CeRN, make three-dimensional images as a means for displaying the operation of particle phy-sics, in an attempt to explicate the founda-tions and the origin of the world.

    the photographic image, in its capacity as a technical, though partial, reality, ex-ploits an aesthetic opinion of what is visible in the real. it is particularly suitable for star-ting down a road to reach for the specifici-ty of the various symbolic facets of stone. Moreover, taking into account demateriali-sation and digital democratization, many ar-

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  • tists are pushed to question an experience around the materiality of the image.

    Stones offer rich and abundant allegorical reading, beyond their natural settings, and this makes up the core of the Geology of the Ineffable.

    The term was coined by Nobel laureate Paul Crutzen in 2000 and is in the process of being proposed to the International Commission on Stratigraphy for approval during 2016 by a working group of scientists who are part of the Sub-Commission on Stratigraphy Quater-nary. http://quaternary.stratigraphy.org/working-groups/anthropocene/

    http://www.lavalette.com/f-that-photography-and-the-ineffable/ (accessed January 2, 2016)