{"title":"上帝即时间;魔鬼统治空间:对《卡斯蒂利亚之火》中瓦尔-德尔-奥马尔的《贝鲁古埃特再现》的神学思考","authors":"Jimena Berzal de Dios","doi":"10.1163/15685292-02803003","DOIUrl":null,"url":null,"abstract":"<p>This article explores José Val del Omar’s religious thought in relation to his <em>Fire in</em> <em>Castile</em>, a 1960 experimental film that sets Spanish Renaissance sculptures in motion by use of pulsating lights, projected patterns, and other striking audiovisual effects. Val del Omar sought to provoke a new and technological mystical encounter: Fire in Castile displaces the viewers’ physical space to create a transcendental and sacred opening, in turn activating the affective role of the sculptures. This essay seeks to contextualize the film in relation to a core theological notion in Val del Omar’s thought, the interlacing of God and time: “God is Time,” he wrote, “the devil rules over space.” For Val del Omar, this is a tragic situation in which God is waiting for us in the entrails of life, which in turn demands a visceral disruption of our spatiotemporal and existential assumptions.</p>","PeriodicalId":41383,"journal":{"name":"Religion and the Arts","volume":"19 1","pages":""},"PeriodicalIF":0.1000,"publicationDate":"2024-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"God Is Time; The Devil Rules over Space: Theological Reflections on Val Del Omar’s Recrudescence of Berruguete in Fire in Castile\",\"authors\":\"Jimena Berzal de Dios\",\"doi\":\"10.1163/15685292-02803003\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<p>This article explores José Val del Omar’s religious thought in relation to his <em>Fire in</em> <em>Castile</em>, a 1960 experimental film that sets Spanish Renaissance sculptures in motion by use of pulsating lights, projected patterns, and other striking audiovisual effects. Val del Omar sought to provoke a new and technological mystical encounter: Fire in Castile displaces the viewers’ physical space to create a transcendental and sacred opening, in turn activating the affective role of the sculptures. This essay seeks to contextualize the film in relation to a core theological notion in Val del Omar’s thought, the interlacing of God and time: “God is Time,” he wrote, “the devil rules over space.” For Val del Omar, this is a tragic situation in which God is waiting for us in the entrails of life, which in turn demands a visceral disruption of our spatiotemporal and existential assumptions.</p>\",\"PeriodicalId\":41383,\"journal\":{\"name\":\"Religion and the Arts\",\"volume\":\"19 1\",\"pages\":\"\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2024-06-27\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Religion and the Arts\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1163/15685292-02803003\",\"RegionNum\":4,\"RegionCategory\":\"哲学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"RELIGION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Religion and the Arts","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1163/15685292-02803003","RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"RELIGION","Score":null,"Total":0}
引用次数: 0
摘要
1960年,何塞-瓦尔-德尔-奥马尔(José Val del Omar)拍摄了一部实验电影《卡斯蒂利亚之火》(Fire in Castile),通过使用脉动灯光、投射图案和其他引人注目的视听效果,让西班牙文艺复兴时期的雕塑开始运转。瓦尔-德尔-奥马尔试图引发一种新的技术性神秘邂逅:卡斯蒂利亚之火》取代了观众的物理空间,创造了一个超验和神圣的开放空间,进而激活了雕塑的情感作用。本文试图结合瓦尔-德尔-奥马尔思想中的一个核心神学概念--上帝与时间的交错--来阐述这部影片:他写道:"上帝就是时间,""魔鬼统治着空间"。在瓦尔-德尔-奥马尔看来,这是一个悲剧性的局面,上帝在生命的内脏中等待着我们,这反过来又要求我们从内心里打破我们的时空假设和存在假设。
God Is Time; The Devil Rules over Space: Theological Reflections on Val Del Omar’s Recrudescence of Berruguete in Fire in Castile
This article explores José Val del Omar’s religious thought in relation to his Fire inCastile, a 1960 experimental film that sets Spanish Renaissance sculptures in motion by use of pulsating lights, projected patterns, and other striking audiovisual effects. Val del Omar sought to provoke a new and technological mystical encounter: Fire in Castile displaces the viewers’ physical space to create a transcendental and sacred opening, in turn activating the affective role of the sculptures. This essay seeks to contextualize the film in relation to a core theological notion in Val del Omar’s thought, the interlacing of God and time: “God is Time,” he wrote, “the devil rules over space.” For Val del Omar, this is a tragic situation in which God is waiting for us in the entrails of life, which in turn demands a visceral disruption of our spatiotemporal and existential assumptions.