Cine Sólido, la indiscernibilidad de lo actual y lo virtual en nuestra experiencia del espacio cotidiano y sus objetos como escritura

[EN] The artistic-research-based practice proposed with the designation Cine Sólido [Solid Cinema] inquires in the narrative relations of space, both individuals than socials, that are stablished between the language, cinematographic in this case, and the everyday objects that composes these space; in other words, constitute a particular case of spatial writing. Based on a film script already written, and using like conceptual and creative tools the montage theories of S. Eisenstein, will “translate” the descriptive statements of the different film sequences proposed in the script through everyday objects series’ symbolic use directly disposed on the floor, as a still life or vanitas. From eisenstenian proposition of montage as ideogram, “water + eye = «to cry»” (dialectical relation between cinematographic images), go through to another dialectical relation, not already between images but between “solid” objects directly. Product of this everyday space’s estrangement device will display that Gilles Deleuze’s film studies named a crystal-image, a time-image’s variation, where the possible potencies, the myriad of virtual images that this objects combinations marry up in its symbolic relations, will merge with the current perceptual image of the objects we get, establishing an exchanges circuit in thought, which leads us to a contemplative activity of a “pure optical situation”. This intense activity of thinking about our daily reality is characterized by a reading space exercise as Walter Benjamin proposes to trace the characteristics of modernity in early twentieth century city of Paris’ passages and streets. Cine Sólido is a way to track in the current time the “spatial mediations” (Olafur Eliasson) to which we face and predispose our behavior [ES] La práctica artística de investigación propuesta con la denominación de Cine Sólido indaga en las relaciones narrativas del espacio, tanto individuales como sociales, que se establecen entre el lenguaje, en este caso cinematográfico, y los objetos cotidianos que componen ese espacio; dicho de otro modo, constituye un caso particular de escritura espacial. Partiendo de un guion cinematográfico ya escrito, y utilizando como herramientas conceptuales y creativas las teorías del montaje de S. Eisenstein, se “traducen” los enunciados descriptivos de las diferentes secuencias cinematográficas propuestas en el guion mediante el uso simbólico de series de objetos domésticos y cotidianos dispuestos directamente sobre e