期刊名称：HeLix - Dossiers zur romanischen Literaturwissenschaft
印刷版ISSN：2191-642X
出版年度：2020
卷号：14
期号：2
页码：166-181
DOI：10.11588/helix.2020.2.77794
出版社：HeLix - Dossiers zur romanischen Literaturwissenschaft
摘要：Roy Batty’s monologue, in Ridley Scott’s (1982) film Blade Runner , talks about the disappearance of memories. It is one manifestation, among many others, of the contemporary discourse of finitude : modern identities and emancipation projects are destined to oblivion. This discourse –a favorite in philosophy, in politics, media and in art– is that of infinite difference, fragmentation and the idea of the open, which replaces form with dissolution. It also coincides with the second law of thermodynamics, entropy. Now, the Argentine Rafael Spregelburd prefers the second law of the theory of chaos (or of set theory), which relieves iterations or intermittences, places of creation within the random fluctuation. In El Fin de Europa (2017), a series of 8 short works in more than 12 languages, simultaneous spaces are opened, possibilities of memory to be treasured by anyone. They are places, like the ones that Roy Batty lists, that remain in all their brightness and intensity, “flashing in a moment of danger” (Walter Benjamin), where subjects confront their own truth. If the end is inevitable, what counts is what is worth before it comes: life.
其他摘要：Roy Batty’s monologue, in Ridley Scott’s (1982) film Blade Runner, talks about the disappearance of memories. It is one manifestation, among many others, of the contemporary discourse of finitude: modern identities and emancipation projects are destined to oblivion. This discourse –a favorite in philosophy, in politics, media and in art– is that of infinite difference, fragmentation and the idea of the open, which replaces form with dissolution. It also coincides with the second law of thermodynamics, entropy. Now, the Argentine Rafael Spregelburd prefers the second law of the theory of chaos (or of set theory), which relieves iterations or intermittences, places of creation within the random fluctuation. In El Fin de Europa (2017), a series of 8 short works in more than 12 languages, simultaneous spaces are opened, possibilities of memory to be treasured by anyone. They are places, like the ones that Roy Batty lists, that remain in all their brightness and intensity, “flashing in a moment of danger” (Walter Benjamin), where subjects confront their own truth. If the end is inevitable, what counts is what is worth before it comes: life.
