Chris Marker. “Sans soleil”. 1983
“… Forget your past, this is your last chance now
And we can break the rules like nothing will last
You might forget, forget the sound of a voice
Still you should not forget, yeah, don't forget
The things that we laughed about…
… Yeah, no one ever knows what you're talking about
So I guess you're already there
And no one opens up when you scream and shout
But it's time to make a couple things clear
If you're afraid of what you need
If you're afraid of what you need
Look around you, you're surrounded
It won't get any better until the night”
Cómo unos datos domésticos, unas cuentas pueden suscitar tantas emociones encontradas, el lenguaje verbal o matemático, la lingüística interfiriendo en el mundo de lo real, o de la interpretación de lo real, puesto que lo más cercano a la verosimilitud resulta ser el presente; el futuro y el pasado son el fruto o de conjeturas o de re-formulaciones, víctimas de la sique narrativa, de los filtros de una subjetividad ilimitada.
“… Forget your past, this is your last chance now
And we can break the rules like nothing will last
You might forget, forget the sound of a voice
Still you should not forget, yeah, don't forget
The things that we laughed about…
… Yeah, no one ever knows what you're talking about
So I guess you're already there
And no one opens up when you scream and shout
But it's time to make a couple things clear
If you're afraid of what you need
If you're afraid of what you need
Look around you, you're surrounded
It won't get any better until the night”
Cómo unos datos domésticos, unas cuentas pueden suscitar tantas emociones encontradas, el lenguaje verbal o matemático, la lingüística interfiriendo en el mundo de lo real, o de la interpretación de lo real, puesto que lo más cercano a la verosimilitud resulta ser el presente; el futuro y el pasado son el fruto o de conjeturas o de re-formulaciones, víctimas de la sique narrativa, de los filtros de una subjetividad ilimitada.
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