期刊名称：Espacio, Tiempo y Forma. Serie VII, Historia del Arte
印刷版ISSN：1130-4715
电子版ISSN：2340-1478
出版年度：2019
期号：7
页码：311-326
DOI：10.5944/etfvii.7.2019.23038
出版社：Universidad Nacional de Educación a Distancia (UNED)
摘要：Tomaré la bubble vision («visión burbuja») –el paradigma acuñado por Hito Steyerl con el que alude a la globalización neoliberal– como punto de partida para trazar (desde «el hoy») una incursión en la construcción estética del ojo moderno y su pulsión escópica: paseante, viajero, burgués ocioso y, sobre todo, curioso. Un paseo por la inmersión, la curiosidad y la pulsión escópica del turismo visual decimonónico dictado por el capital. Intentaré mostrar cómo ese mundo de divertimento que florecía alrededor de los aparatos de visión suponía, ya entonces, algo más que simples cambios tecnológicos en las formas de entretenimiento de masas. Lo entenderé como una forma de adiestramiento para aprender a vivir en la lógica del capital. Abstract From the bubble vision –the paradigm proposed by Hito Steyerl to make reference to neoliberal globalization– as started point I would trace (from «today») an incursion in the aesthetic construction of the modern eye and its scopic drive: walker, traveler, idle bourgeois; and, above all, curious. A walk by the immersion, curiosity and the scopic drive of nineteenth-century visual tourism promoted by capital. I aim to show how the world of entertainment that flourished around the viewing devices meant, already then, much more than just technological changes in the forms of mass entertainment. I will suggest that it was a form of training how to live in the logic of capital.
其他摘要：From the bubble vision –the paradigm proposed by Hito Steyerl to make reference
to neoliberal globalization– as started point I would trace (from «today») an incursion
in the aesthetic construction of the modern eye and its scopic drive: walker,
traveler, idle bourgeois; and, above all, curious. A walk by the immersion, curiosity
and the scopic drive of nineteenth-century visual tourism promoted by capital. I
aim to show how the world of entertainment that flourished around the viewing
devices meant, already then, much more than just technological changes in the
forms of mass entertainment. I will suggest that it was a form of training how to
live in the logic of capital.
