<\/p>\n\n\n\n
Like Ubu Roi\u2019s imaginary Poland of (1.18<\/a>), the flesh of the world of The Atrocity Exhibition<\/em> is a non-place, a threshold outside of space and time:<\/p>\n\n\n\n The Persistence of Memory.\u00a0<\/strong> An empty beach with its fused sand. Here clock time is no longer valid. Even the embryo, symbol of secret growth and possibility, is drained and limp. These images are the residues of a remembered moment of time. For Talbot the most disturbing elements are the rectilinear sections of the beach and sea. The displacement of these two images through time, and their marriage with his own continuum, has warped them into the rigid and unyielding structures of his own consciousness. Later, walking along the overpass, he realized that the rectilinear forms of his conscious reality were warped elements from some placid and harmonious future.<\/p>\n<\/blockquote>\n\n\n\n Ballard took his inspiration for these atemporal landscapes from the paintings of surrealists like Salvador Dal\u00ed (hence the name of the section), Yves Tanguy and Max Ernst. The \u201cflowering tissue\u201d of a mouth reminds the main character of the porous surfaces of Ernst\u2019s The Eye of Silence<\/em>; \u201cMarilyn\u2019s pitted skin, breasts of carved pumice, volcanic thighs, a face of ash,\u201d2<\/a><\/sup> are parts of a body \u201cfrom which all organic matter has been leached, all sense of time. Looking at these landscapes, it\u2019s impossible to imagine anything ever happening within them.\u201d Petrified in time, these scenes are pure surface, the absolute lack of interiority; they are the dandy made landscape and space (2.3<\/a>).<\/p>\n\n\n\n Ballard in the audio commentary to Jonathan Weiss\u2019s film version of The Atrocity Exhibition<\/em>:<\/p>\n\n\n\n We live in a kind of enormously expanded present, which is just packed like a tenement city with images from the past, and to some extent the future, which have been commandeered, ransacked out of the years past and the years to come, and The Atrocity Exhibition really describes just that world. Traven is making a desperate bid to understand what all these elements that are no longer linked by time mean \u2013 if they are not linked by time, what are they linked by?3<\/a><\/sup><\/p>\n<\/blockquote>\n\n\n\n A possible answer: the flesh of the world. <\/p>\n\n\n\n Como la Polonia imaginaria de Ub\u00fa Rey (1.18), la carne del mundo de La exhibici\u00f3n de atrocidades es un no-lugar, un umbral fuera del tiempo y el espacio: La persistencia de la memoria. Una playa vac\u00eda de arena fundida. El tiempo de los relojes no tiene validez aqu\u00ed. Incluso el embri\u00f3n, s\u00edmbolo del crecimiento secreto […]<\/p>\n","protected":false},"author":274836558,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_crdt_document":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"[{\"content\":\"Ballard, La exposici\u00f3n de atrocidades, 40.\",\"id\":\"9feac4d1-de50-4e74-8a3c-4898966ce57c\"},{\"content\":\"Ib\u00edd.\",\"id\":\"523eff80-b3a2-43d3-a4e9-a12700c11687\"},{\"content\":\"The Atrocity Exhibition<\/em>. Dir: Jonathan Weiss. 2000. Traducci\u00f3n propia.\",\"id\":\"c3ce8ca5-9718-4d8a-b003-7904ebcba77c\"}]","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[786109237],"tags":[786109105,786109249,786109271,786109272,786109266,786109268,786109104,786109270],"class_list":["post-823","post","type-post","status-publish","format-standard","hentry","category-capitulo-4","tag-alfred-jarry","tag-j-g-ballard","tag-max-ernst","tag-salvador-dali","tag-the-atrocity-exhibition","tag-ubu-rey-2","tag-ubu-roi","tag-yves-tanguy"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pgYHfz-dh","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/locusterribilis.com\/en\/wp-json\/wp\/v2\/posts\/823","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/locusterribilis.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/locusterribilis.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/locusterribilis.com\/en\/wp-json\/wp\/v2\/users\/274836558"}],"replies":[{"embeddable":true,"href":"https:\/\/locusterribilis.com\/en\/wp-json\/wp\/v2\/comments?post=823"}],"version-history":[{"count":6,"href":"https:\/\/locusterribilis.com\/en\/wp-json\/wp\/v2\/posts\/823\/revisions"}],"predecessor-version":[{"id":882,"href":"https:\/\/locusterribilis.com\/en\/wp-json\/wp\/v2\/posts\/823\/revisions\/882"}],"wp:attachment":[{"href":"https:\/\/locusterribilis.com\/en\/wp-json\/wp\/v2\/media?parent=823"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/locusterribilis.com\/en\/wp-json\/wp\/v2\/categories?post=823"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/locusterribilis.com\/en\/wp-json\/wp\/v2\/tags?post=823"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
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