{"id":1126,"date":"2024-04-23T19:56:38","date_gmt":"2024-04-23T17:56:38","guid":{"rendered":"https:\/\/kinocubecinema.com\/?p=1126"},"modified":"2024-04-23T19:59:15","modified_gmt":"2024-04-23T17:59:15","slug":"o-ollo-e-a-maquina-v-a-era-cuantica","status":"publish","type":"post","link":"https:\/\/kinocubecinema.com\/index.php\/2024\/04\/23\/o-ollo-e-a-maquina-v-a-era-cuantica\/","title":{"rendered":"O ollo e a m\u00e1quina V &#8211; A Era cu\u00e1ntica"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"1126\" class=\"elementor elementor-1126\" data-elementor-post-type=\"post\">\n\t\t\t\t<div class=\"elementor-element elementor-element-1aa219e6 e-flex e-con-boxed e-con e-parent\" data-id=\"1aa219e6\" data-element_type=\"container\" data-core-v316-plus=\"true\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6c9855fe elementor-widget elementor-widget-text-editor\" data-id=\"6c9855fe\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 10-04-2024 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<p><!-- wp:paragraph --><\/p>\n<p><strong><em>Este artigo forma parte dunha serie que acompa\u00f1a ao ciclo de cinema O ollo e a m\u00e1quina, unha colaboraci\u00f3n entre CESGA, CGAC e Kinocube. Se queredes m\u00e1is informaci\u00f3n, <a href=\"https:\/\/kinocubecinema.com\/index.php\/2024\/03\/15\/o-ollo-e-a-maquina-ciclo-de-cinema\/\">est\u00e1 aqu\u00ed<\/a>.\u00a0<\/em><\/strong><\/p>\n<p><strong><em>V\u00e9n da entrega anterior desta serie: <a href=\"https:\/\/kinocubecinema.com\/index.php\/2024\/04\/21\/o-ollo-e-a-maquina-iv-a-era-da-informacion\/\">O ollo e a m\u00e1quina IV &#8211; A Era da informaci\u00f3n<\/a>.<\/em><\/strong><\/p>\n<p><strong><!-- \/wp:paragraph --><!-- wp:paragraph --><\/strong><\/p>\n<p><strong>Nas \u00faltimas d\u00e9cadas vimos de experimentar o vertixe da evoluci\u00f3n tecnol\u00f3xica, sen precedentes na s\u00faa rapidez salvo, quizabes, ese <a href=\"https:\/\/kinocubecinema.com\/index.php\/2024\/04\/02\/o-ollo-e-a-maquina-i-a-era-da-maquina\/\">s\u00e9culo XIX de grandes inventos e cambios sociais<\/a>. A dixitalizaci\u00f3n, a globalizaci\u00f3n e a expansi\u00f3n do virtual, procesos que comezaron nos albores da Era da informaci\u00f3n, sit\u00faanse agora mesmo como os principais factores que dan forma ao noso mundo. Tanto que unha gran parte de acci\u00f3ns que levamos a cabo no coti\u00e1, sen\u00f3n a maior\u00eda, ocorren no plano do virtual: a socializaci\u00f3n a trav\u00e9s das redes sociais e a mensaxer\u00eda instant\u00e1nea, os oficios plenamente dixitalizados, o ocio e entretemento baseado en videoxogos, servizos de v\u00eddeo baixo demanda, a formaci\u00f3n en li\u00f1a, a informaci\u00f3n nos medios dixitais, as afecci\u00f3ns a trav\u00e9s de dispositivos electr\u00f3nicos, a burocracia a trav\u00e9s de formularios en li\u00f1a&#8230; quen nolo \u00eda dicir hai vinte anos!<\/strong><\/p>\n<p>Na actualidade \u00e9 habitual atopar o termo <em><a href=\"https:\/\/es.wikipedia.org\/wiki\/Posmodernidad#\">posmodernidade<\/a> <\/em>nos estudos sociais e de comunicaci\u00f3n, mais a orixe deste concepto filos\u00f3fico ten relaci\u00f3n coa Era at\u00f3mica, nos albores da investigaci\u00f3n te\u00f3rica arredor da f\u00edsica cu\u00e1ntica.\u00a0<span style=\"color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); text-align: var(--text-align); background-color: var( --e-global-color-secondary ); font-size: 1rem;\">Nas \u00faltimas d\u00e9cadas asistimos a un fen\u00f3meno no que se esvaecen as fronteiras da verdade e da <\/span><em style=\"color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); text-align: var(--text-align); background-color: var( --e-global-color-secondary ); font-size: 1rem;\">posverdade, <\/em><span style=\"color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); text-align: var(--text-align); background-color: var( --e-global-color-secondary ); font-size: 1rem;\">nunha loita continua contra a desinformaci\u00f3n. Ao mesmo tempo, a crise clim\u00e1tica, o consumismo extremo e a deshumanizaci\u00f3n levan \u00e1 sociedade a buscar soluci\u00f3ns, nun momento no que o <\/span><a href=\"https:\/\/elpais.com\/ciencia\/2024-01-23\/el-reloj-del-fin-del-mundo-situa-a-la-humanidad-a-90-segundos-del-apocalipsis.html\"><em style=\"color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); text-align: var(--text-align); background-color: var( --e-global-color-secondary ); font-size: 1rem;\">reloxo da fin do mundo<\/em><span style=\"color: var( --e-global-color-text ); font-family: var( --e-global-typography-text-font-family ), Sans-serif; font-weight: var( --e-global-typography-text-font-weight ); text-align: var(--text-align); background-color: var( --e-global-color-secondary ); font-size: 1rem;\"> volve a atoparse preto da medianoite.<\/span><\/a><\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p><!-- \/wp:paragraph --><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6d25ffa elementor-widget elementor-widget-image\" data-id=\"6d25ffa\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 10-04-2024 *\/\n.elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=\".svg\"]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block}<\/style>\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"640\" height=\"427\" src=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/environmental-protection-4605883_640.jpg\" class=\"attachment-large size-large wp-image-1456\" alt=\"Protestas contra o cambio clim\u00e1tico\" srcset=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/environmental-protection-4605883_640.jpg 640w, https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/environmental-protection-4605883_640-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-72155b0 elementor-widget elementor-widget-text-editor\" data-id=\"72155b0\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>O <em>cu\u00e1ntico<\/em> \u00e9 o novo <em>at\u00f3mico<\/em>, nun senso est\u00e9tico e narrativo. As novas teor\u00edas, enerx\u00edas e tecnolox\u00edas disruptivas albiscan a posibilidade de ofrecer esas soluci\u00f3ns que agardamos. As potencias mundiais te\u00f1en a vista posta no desenvolvemento de tecnolox\u00edas cu\u00e1nticas, sobre todo as comunicaci\u00f3ns e a computaci\u00f3n cu\u00e1ntica e en todo no que respecta \u00e1 criptograf\u00eda, pois t\u00e9mese que o primeiro pa\u00eds en atopar a maneira de utilizar este potencial ser\u00e1 quen de desencriptar a informaci\u00f3n do resto, con consecuencias econ\u00f3micas e xeopol\u00edticas impensables.\u00a0<\/p>\n<p>Ademais das posibilidades que ofrece a f\u00edsica cu\u00e1ntica para o avance da tecnolox\u00eda, asistimos \u00e1 aceleraci\u00f3n da evoluci\u00f3n tecnol\u00f3xica en outros aspectos da computaci\u00f3n como a Intelixencia Artificial, que abre o debate \u00e9tico sobre a lexitimidade do traballo feito por m\u00e1quinas unha vez m\u00e1is dende a Era da m\u00e1quina; e mais a xesti\u00f3n de grandes masas de datos ou Big Data, utilizado a mi\u00fado con fins comerciais.\u00a0<\/p>\n<p>As ficci\u00f3ns, inclu\u00eddas as cinematogr\u00e1ficas, pob\u00f3anse de multiversos, metaversos e conceptos cient\u00edficos \u2014ou pseudo-cient\u00edficos, ollo!\u2014 que complican, multiplican e retorcen as tramas dunha maneira\u00a0<em>metacinematogr\u00e1fica<\/em>. O meta, as rupturas das cuartas paredes e das convenci\u00f3ns narrativas, est\u00e1n de moda. A ciencia ficci\u00f3n e a est\u00e1 de novo moi presente no <em>mainstream<\/em> cos superheroes e mais os Universos Cinematogr\u00e1ficos, unha nova maneira narrativa <a href=\"https:\/\/es.wikipedia.org\/wiki\/Narrativa_transmedia\"><em>transmedia<\/em> <\/a>de desfrutar do cinema introduc\u00edndose en dimensi\u00f3ns ficticias que van m\u00e1is al\u00e1 dun s\u00f3 filme, que se cruzan, partillan e desenvolven tramas, personaxes, tem\u00e1ticas e outros elementos a trav\u00e9s de varios produtos audiovisuais, diferentes formatos e soportes; existe retroalimentaci\u00f3n entre o fen\u00f3meno televisivo \u2014os seriais, concretamente\u2014 e o cinematogr\u00e1fico, xa plenamente dixitais e que comparten fogar nas novas plataformas de <a href=\"https:\/\/es.wikipedia.org\/wiki\/Video_bajo_demanda\">v\u00eddeo baixo demanda<\/a> como Netflix ou Disney+.\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0559445 elementor-widget 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data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"0559445\" data-elementor-lightbox-title=\"Un fotograma de Ant-Man:  Quantumania (2023), un filme que utiliza a excusa da f\u00edsica cu\u00e1ntica para xustificar a viaxe entre dimensi\u00f3ns, e utiliza CGI.\" data-elementor-lightbox-description=\"Un fotograma de Ant-Man:  Quantumania (2023), un filme que utiliza a excusa da f\u00edsica cu\u00e1ntica para xustificar a viaxe entre dimensi\u00f3ns, e utiliza CGI.\" data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6MTQ1MSwidXJsIjoiaHR0cHM6XC9cL2tpbm9jdWJlY2luZW1hLmNvbVwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyNFwvMDRcL2Mtc2NhbGVkLmpwZyIsInNsaWRlc2hvdyI6IjA1NTk0NDUifQ%3D%3D\">\n\t\t\t\t\t<div class=\"e-gallery-image elementor-gallery-item__image\" data-thumbnail=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/c-300x169.jpg\" data-width=\"300\" data-height=\"169\" aria-label=\"Un fotograma de Ant-Man: Quantumania (2023), un filme que utiliza a f\u00edsica cu\u00e1ntica para xustificar a viaxe entre dimensi\u00f3ns.\" role=\"img\" ><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t<a class=\"e-gallery-item elementor-gallery-item elementor-animated-content\" href=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/everything-everywhere-all-once-2673051.webp\" data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"0559445\" data-elementor-lightbox-title=\"everything-everywhere-all-once-2673051\" data-elementor-lightbox-description=\"Everything, everywhere all at once (2022), un filme que exprime o &quot;meta&quot; at\u00e9 as \u00faltimas consecuencias.\" data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6MTQ1MiwidXJsIjoiaHR0cHM6XC9cL2tpbm9jdWJlY2luZW1hLmNvbVwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyNFwvMDRcL2V2ZXJ5dGhpbmctZXZlcnl3aGVyZS1hbGwtb25jZS0yNjczMDUxLndlYnAiLCJzbGlkZXNob3ciOiIwNTU5NDQ1In0%3D\">\n\t\t\t\t\t<div class=\"e-gallery-image elementor-gallery-item__image\" data-thumbnail=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/everything-everywhere-all-once-2673051-300x169.webp\" data-width=\"300\" data-height=\"169\" aria-label=\"Everything, everywhere all at once (2022), un filme que exprime o &quot;meta&quot; at\u00e9 as \u00faltimas consecuencias.\" role=\"img\" ><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8663b63 elementor-widget elementor-widget-text-editor\" data-id=\"8663b63\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p><!-- \/wp:paragraph --><!-- wp:paragraph --><\/p>\n<p>Est\u00e9ticamente, a f\u00edsica e a f\u00edsica cu\u00e1ntica en particular expr\u00e9sase cunha serie de motivos visuais moi semellantes \u00e1 representaci\u00f3n tradicional da maxia e, no cinema, material\u00edzase a trav\u00e9s de i<a href=\"https:\/\/gl.wikipedia.org\/wiki\/Imaxes_xeradas_por_ordenador\">maxes xeradas por computador ou CGI<\/a> que simulan raios, feixes de luz e part\u00edculas irreais. Os efectos dixitais e a animaci\u00f3n en 3D dixital experimentaron un auxe nos \u00faltimos anos, a\u00ednda que a crecente precariedade do sector act\u00fae en detrimento da calidade dalgunhas produci\u00f3ns.\u00a0<\/p>\n<p>Mentres, as redes sociais act\u00faan como espello deformado do <em>eu<\/em> e do colectivo, acentuando a tem\u00e1tica da perda da identidade presente xa na \u00e9poca anterior. A nosa identidade dixital \u00e9 unha farsa? Quen somos cando quitamos a m\u00e1scara?\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-bc9ea4c elementor-widget elementor-widget-gallery\" data-id=\"bc9ea4c\" data-element_type=\"widget\" data-settings=\"{&quot;columns&quot;:3,&quot;lazyload&quot;:&quot;yes&quot;,&quot;gallery_layout&quot;:&quot;grid&quot;,&quot;columns_tablet&quot;:2,&quot;columns_mobile&quot;:1,&quot;gap&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:10,&quot;sizes&quot;:[]},&quot;gap_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:10,&quot;sizes&quot;:[]},&quot;gap_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:10,&quot;sizes&quot;:[]},&quot;link_to&quot;:&quot;file&quot;,&quot;aspect_ratio&quot;:&quot;3:2&quot;,&quot;content_hover_animation&quot;:&quot;fade-in&quot;}\" data-widget_type=\"gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-gallery__container\">\n\t\t\t\t\t\t\t<a class=\"e-gallery-item elementor-gallery-item elementor-animated-content\" href=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/2024-04-23_16h55_44.png\" data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"bc9ea4c\" data-elementor-lightbox-title=\"Fotograma de Fukushima, videoclip de Triangulo de Amor Bizarro (Dir. To\u00f1o Chouza)\" data-elementor-lightbox-description=\"Fotograma de Fukushima, videoclip de Triangulo de Amor Bizarro (Dir. To\u00f1o Chouza)\" data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6MTQ1MywidXJsIjoiaHR0cHM6XC9cL2tpbm9jdWJlY2luZW1hLmNvbVwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyNFwvMDRcLzIwMjQtMDQtMjNfMTZoNTVfNDQucG5nIiwic2xpZGVzaG93IjoiYmM5ZWE0YyJ9\">\n\t\t\t\t\t<div class=\"e-gallery-image elementor-gallery-item__image\" data-thumbnail=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/2024-04-23_16h55_44-300x163.png\" data-width=\"300\" data-height=\"163\" aria-label=\"Fotograma de Fukushima, videoclip de Triangulo de Amor Bizarro (Dir. To\u00f1o Chouza)\" role=\"img\" ><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t<a class=\"e-gallery-item elementor-gallery-item elementor-animated-content\" href=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/AAAABYrjHYeyw_2sB20P4WWmK-4jVhx35h7R705VVedO1M42O7BCCDmmJlJ5Ot0XGyQSzCM9sGhqAnhWFKs0ZFBXFDfhsFAm5GFOs8fl.jpg\" data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"bc9ea4c\" data-elementor-lightbox-title=\"The Social Dilemma (2020)\" data-elementor-lightbox-description=\"The Social Dilemma (2020)\" data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6MTQ1NCwidXJsIjoiaHR0cHM6XC9cL2tpbm9jdWJlY2luZW1hLmNvbVwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyNFwvMDRcL0FBQUFCWXJqSFlleXdfMnNCMjBQNFdXbUstNGpWaHgzNWg3UjcwNVZWZWRPMU00Mk83QkNDRG1tSmxKNU90MFhHeVFTekNNOXNHaHFBbmhXRktzMFpGQlhGRGZoc0ZBbTVHRk9zOGZsLmpwZyIsInNsaWRlc2hvdyI6ImJjOWVhNGMifQ%3D%3D\">\n\t\t\t\t\t<div class=\"e-gallery-image elementor-gallery-item__image\" data-thumbnail=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/AAAABYrjHYeyw_2sB20P4WWmK-4jVhx35h7R705VVedO1M42O7BCCDmmJlJ5Ot0XGyQSzCM9sGhqAnhWFKs0ZFBXFDfhsFAm5GFOs8fl-300x169.jpg\" data-width=\"300\" data-height=\"169\" aria-label=\"The Social Dilemma (2020)\" role=\"img\" ><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t<a class=\"e-gallery-item elementor-gallery-item elementor-animated-content\" href=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/vlcsnap-2024-04-23-17h12m25s335.png\" data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"bc9ea4c\" data-elementor-lightbox-title=\"Perfect Blue (Satoshi Kon, 1997) xa falaba da perda da identidade no oc\u00e9ano dixital.\" data-elementor-lightbox-description=\"Perfect Blue (Satoshi Kon, 1997) xa falaba da perda da identidade no oc\u00e9ano dixital.\" data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6MTQ1NSwidXJsIjoiaHR0cHM6XC9cL2tpbm9jdWJlY2luZW1hLmNvbVwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyNFwvMDRcL3ZsY3NuYXAtMjAyNC0wNC0yMy0xN2gxMm0yNXMzMzUucG5nIiwic2xpZGVzaG93IjoiYmM5ZWE0YyJ9\">\n\t\t\t\t\t<div class=\"e-gallery-image elementor-gallery-item__image\" data-thumbnail=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/vlcsnap-2024-04-23-17h12m25s335-300x163.png\" data-width=\"300\" data-height=\"163\" aria-label=\"Perfect Blue (Satoshi Kon, 1997) xa falaba da perda da identidade no oc\u00e9ano dixital.\" role=\"img\" ><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f3d85fe elementor-widget elementor-widget-text-editor\" data-id=\"f3d85fe\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Algunhas novas olladas que xorden ou se consolidan na ciencia ficci\u00f3n son aquelas que prove\u00f1en de grupos sociais minorizados, como o <a href=\"https:\/\/es.wikipedia.org\/wiki\/Afrofuturismo\"><em>afrofuturismo<\/em><\/a>, ou de cinematograf\u00edas arredor do globo. As mulleres van pouco a pouco ga\u00f1ando terreo dentro dun x\u00e9nero que adoitaba pecar de pouco inclusivo, formando parte tanto da audiencia como da produci\u00f3n.\u00a0<\/p>\n<p>Precisamente a lucense <a href=\"https:\/\/olgaosorio.com\/\">Olga Osorio<\/a> asina o filme que nos ocupa hoxe, unhas das primeiras \u2014sen\u00f3n a primeira\u2014 pel\u00edcula de ciencia ficci\u00f3n galega: <a href=\"https:\/\/www.imdb.com\/title\/tt22059348\/\"><em>\u00a1Salta!<\/em> (2023)<\/a>, unha comedia de aventuras familiar que segue ao rapaz Teo e ao seu irm\u00e1n \u00d3scar a trav\u00e9s de\u00a0<em>saltos cu\u00e1nticos<\/em> a trav\u00e9s do tempo. O filme xurde dunha curtametraxe da propia directora, <a href=\"https:\/\/olgaosorio.com\/einstein-rosen\/\">Einstein-Rosen (2016)<\/a>, ga\u00f1ador do premio do p\u00fablico do noso Festival de Cans en 2017. A curta xa exploraba a potencialidade dun fen\u00f3meno da f\u00edsica te\u00f3rica co\u00f1ecido como <a href=\"https:\/\/gl.wikipedia.org\/wiki\/Burato_de_verme\">a ponte Einstein-Rosen ou, a nivel popular, burato de verme<\/a> \u2014ou de mi\u00f1oca, en portugu\u00e9s\u2014, do que non se demostrou a\u00ednda a s\u00faa existencia mais xa alimenta a imaxinaci\u00f3n das artistas de ciencia ficci\u00f3n dun tempo a esta parte. Na longametraxe expl\u00edcase a complexidade dos saltos temporais dos protagonistas a trav\u00e9s dun fen\u00f3meno cu\u00e1ntico chamado\u00a0<a href=\"https:\/\/es.wikipedia.org\/wiki\/Entrelazamiento_cu%C3%A1ntico\"><em>entrelazado<\/em><\/a>.\u00a0<\/p>\n<p>Por\u00e9n, o mellor deste filme quizabes sexa que o contexto cient\u00edfico est\u00e1 ao servizo da trama e da premisa subxacente.<em> \u00a1Salta!\u00a0<\/em>explora unha das tem\u00e1ticas predilectas do cinema familiar e xuvenil actual, que \u00e9 o superar o trauma xeracional, presente noutros filmes como <a href=\"https:\/\/www.imdb.com\/title\/tt6710474\/\"><em>Everything, everywhere, all at once<\/em> (Daniel Kwan, Daniel Scheinert, 2022)<\/a>. No filme, Teo e \u00d3scar \u2014os nosos protagonistas\u2014 ter\u00e1n que aprender a tolerarse, a perdoar os erros e a apoiarse o un no outro para superar todas as dificultades que atopar\u00e1n no seu cami\u00f1o.\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2758a7d elementor-widget elementor-widget-gallery\" data-id=\"2758a7d\" data-element_type=\"widget\" data-settings=\"{&quot;columns&quot;:2,&quot;lazyload&quot;:&quot;yes&quot;,&quot;gallery_layout&quot;:&quot;grid&quot;,&quot;columns_tablet&quot;:2,&quot;columns_mobile&quot;:1,&quot;gap&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:10,&quot;sizes&quot;:[]},&quot;gap_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:10,&quot;sizes&quot;:[]},&quot;gap_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:10,&quot;sizes&quot;:[]},&quot;aspect_ratio&quot;:&quot;3:2&quot;,&quot;content_hover_animation&quot;:&quot;fade-in&quot;}\" data-widget_type=\"gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-gallery__container\">\n\t\t\t\t\t\t\t<div class=\"e-gallery-item elementor-gallery-item elementor-animated-content\">\n\t\t\t\t\t<div class=\"e-gallery-image elementor-gallery-item__image\" data-thumbnail=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/vlcsnap-2024-04-23-19h45m41s754-300x128.png\" data-width=\"300\" data-height=\"128\" aria-label=\"\" role=\"img\" ><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"e-gallery-item elementor-gallery-item elementor-animated-content\">\n\t\t\t\t\t<div class=\"e-gallery-image elementor-gallery-item__image\" data-thumbnail=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/vlcsnap-2024-04-23-19h46m33s152-300x128.png\" data-width=\"300\" data-height=\"128\" aria-label=\"\" role=\"img\" ><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1545e9f elementor-widget elementor-widget-text-editor\" data-id=\"1545e9f\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Unha das cousas m\u00e1is interesantes do filme \u00e9 que transporta ao viaxeiro no tempo do pasado recente cara ao presente no que nos atopamos como p\u00fablico, no canto de levarnos a n\u00f3s cara a un futuro distante. E non s\u00f3 porque confronta \u00e9pocas que, a\u00ednda que non est\u00e1n tan afastadas cronol\u00f3xicamente, si que foron suxeito de grandes cambios en moi pouco tempo, <a href=\"https:\/\/kinocubecinema.com\/index.php\/2024\/04\/21\/o-ollo-e-a-maquina-iv-a-era-da-informacion\/\">como xa vimos nesta bit\u00e1cora<\/a>; ademais, resulta curioso observar a nosa propia Era con ollos frescos, con certa inxenuidade na que a\u00ednda hai espazo para marabillarse. En definitiva, cos ollos dunha crianza.\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0af1c64 elementor-widget elementor-widget-gallery\" data-id=\"0af1c64\" data-element_type=\"widget\" data-settings=\"{&quot;columns&quot;:2,&quot;lazyload&quot;:&quot;yes&quot;,&quot;gallery_layout&quot;:&quot;grid&quot;,&quot;columns_tablet&quot;:2,&quot;columns_mobile&quot;:1,&quot;gap&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:10,&quot;sizes&quot;:[]},&quot;gap_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:10,&quot;sizes&quot;:[]},&quot;gap_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:10,&quot;sizes&quot;:[]},&quot;aspect_ratio&quot;:&quot;3:2&quot;,&quot;content_hover_animation&quot;:&quot;fade-in&quot;}\" data-widget_type=\"gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-gallery__container\">\n\t\t\t\t\t\t\t<div class=\"e-gallery-item elementor-gallery-item elementor-animated-content\">\n\t\t\t\t\t<div class=\"e-gallery-image elementor-gallery-item__image\" data-thumbnail=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/vlcsnap-2024-02-21-16h45m11s642-300x128.png\" data-width=\"300\" data-height=\"128\" aria-label=\"\" role=\"img\" ><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"e-gallery-item elementor-gallery-item elementor-animated-content\">\n\t\t\t\t\t<div class=\"e-gallery-image elementor-gallery-item__image\" data-thumbnail=\"https:\/\/kinocubecinema.com\/wp-content\/uploads\/2024\/04\/vlcsnap-2024-04-23-19h47m39s312-300x128.png\" data-width=\"300\" data-height=\"128\" aria-label=\"\" role=\"img\" ><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-12a2c3e elementor-widget elementor-widget-text-editor\" data-id=\"12a2c3e\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Remata <em>O ollo e a m\u00e1quina<\/em> no presente absoluto, mais semella que puidemos chegar a poucas conclusi\u00f3ns definitivas; se a ciencia ficci\u00f3n se caracteriza por algo, \u00e9 por abrir debates en torno ao progreso tecnol\u00f3xico, por facerse preguntas sabendo que tardar\u00e1n moitos anos en resolverse, iguali\u00f1o que a ciencia real sobre o que se sustenta. \u00c9 tam\u00e9n a ciencia unha construci\u00f3n narrativa que utilizamos para explicar o que nos arrodea? \u00c9 a <em>m\u00e1quina<\/em>, \u00e9 dicir, o cinemat\u00f3grafo, un <em>ollo<\/em> m\u00e1is perfecto que o noso \u00e1 hora de transmitir o que nos arrodea? Deix\u00e1mosvos con estas cuesti\u00f3ns\u00a0para que sigades a reflexionar pola vosa conta.\u00a0<\/p>\n<p>Namentres, d\u00e1mosvos as grazas a todas as persoas que leron <a href=\"https:\/\/kinocubecinema.com\/index.php\/2024\/03\/15\/o-ollo-e-a-maquina-ciclo-de-cinema\/\">esta serie especial<\/a> de artigos e mais \u00e1s que vi\u00f1eron \u00e1s proxecci\u00f3ns do ciclo de cinema <em>O ollo e a m\u00e1quina,\u00a0<\/em>un proxecto de Kinocube Cinema en colaboraci\u00f3n co CESGA e o CGAC para traervos unha historia na que ciencia e ficci\u00f3n se <em>entrelazan\u00a0<\/em>a trav\u00e9s dos fotogramas das cinco pel\u00edculas titulares.\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Este artigo forma parte dunha serie que acompa\u00f1a ao ciclo de cinema O ollo e a m\u00e1quina, unha colaboraci\u00f3n entre CESGA, CGAC e Kinocube. Se queredes m\u00e1is informaci\u00f3n, est\u00e1 aqu\u00ed.\u00a0 V\u00e9n da entrega anterior desta serie: O ollo e a m\u00e1quina IV &#8211; A Era da informaci\u00f3n. Nas \u00faltimas d\u00e9cadas vimos de experimentar o vertixe [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1369,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16,246],"tags":[252,247,253,251,245,250,78],"class_list":["post-1126","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-episodios","category-o-ollo-e-a-maquina","tag-arte-e-ciencia","tag-ciencia-ficcion","tag-computadores","tag-futurismo","tag-o-ollo-e-a-maquina","tag-robots","tag-tecnoloxia"],"_links":{"self":[{"href":"https:\/\/kinocubecinema.com\/index.php\/wp-json\/wp\/v2\/posts\/1126","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kinocubecinema.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kinocubecinema.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kinocubecinema.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kinocubecinema.com\/index.php\/wp-json\/wp\/v2\/comments?post=1126"}],"version-history":[{"count":19,"href":"https:\/\/kinocubecinema.com\/index.php\/wp-json\/wp\/v2\/posts\/1126\/revisions"}],"predecessor-version":[{"id":1471,"href":"https:\/\/kinocubecinema.com\/index.php\/wp-json\/wp\/v2\/posts\/1126\/revisions\/1471"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kinocubecinema.com\/index.php\/wp-json\/wp\/v2\/media\/1369"}],"wp:attachment":[{"href":"https:\/\/kinocubecinema.com\/index.php\/wp-json\/wp\/v2\/media?parent=1126"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kinocubecinema.com\/index.php\/wp-json\/wp\/v2\/categories?post=1126"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kinocubecinema.com\/index.php\/wp-json\/wp\/v2\/tags?post=1126"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}