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En este sentido, el filme Sans soleil (1982) supone una referencia ineludible al establecer un punto de acceso a una nueva etapa de su dilatada carrera donde el interés por las imágenes del presente se iría sustituyendo por una obsesión por las imágenes del pasado, ya sean aquellas que han servido para escribir la Historia, ya sean aquellas de carácter más íntimo que se arremolinan caóticamente en las memorias individuales. Unas y otras imágenes componen Sans soleil, imágenes acumuladas por un coleccionista consciente de la especial melancolía que las impregna, y que pasan a constituirse en escritura fílmica. Es precisamente esta escritura el objeto de estudio del presente artículo, más concretamente, la manera en la que ésta desarrolla un característico discurso sobre el tiempo, la imagen y la memoria que se demostrará decisivo en la posterior filmografía markeriana. Abstract: Chris Marker’s films, which are considered to be some of the most representative examples of film-essay, have been marked until his recent death by a persistent questioning over the power and the purpose of Image. His film Sunless (1982) is at that respect an unavoidable reference when establishing a first step into a new phase within his long career. A phase where he slowly dropped interest for images of the present and developed instead an obsession for images from the past. The obsession comprised those images used to write History, as well as the more intimate ones that belong to the chaotic flow of individual memories. Sunless is made out of both kinds of images. Images accumulated by a collector who is aware of the special melancholy they are steeped in. Images that become film writing themselves. This article explores this writing, and more specifically, its characteristic discourse about time, image and memory, which will prove to be decisive along the following markerian filmography. \u0026amp;amp;amp;quot;","author":[{"@context":"https://schema.org","@type":"Person","name":"Plataforma Revistas Comunicación"}],"contributor":[],"dateCreated":"2013-10-05","dateModified":"2014-06-01","headline":"Tiempo, memoria, imagen: Sans soleil de Chris Marker // Time, memory, image: Chris Marker’s sunless","image":"https://attachments.academia-assets.com/32022003/thumbnails/1.jpg","inLanguage":"es","keywords":["Photography","Cinema","Digital Image Processing","Documentary","Chris Marker","Cine","Fotografía","Documental","Film-Essay","Imagen Digital","Ensayo Fílmico"],"publisher":{"@context":"https://schema.org","@type":"Organization","name":null},"sourceOrganization":[{"@context":"https://schema.org","@type":"EducationalOrganization","name":null}],"thumbnailUrl":"https://attachments.academia-assets.com/32022003/thumbnails/1.jpg","url":"https://www.academia.edu/4689045/Tiempo_memoria_imagen_Sans_soleil_de_Chris_Marker_Time_memory_image_Chris_Marker_s_sunless"}</script><link rel="stylesheet" media="all" href="//a.academia-assets.com/assets/single_work_page/loswp-102fa537001ba4d8dcd921ad9bd56c474abc201906ea4843e7e7efe9dfbf561d.css" /><link rel="stylesheet" media="all" href="//a.academia-assets.com/assets/design_system/body-8d679e925718b5e8e4b18e9a4fab37f7eaa99e43386459376559080ac8f2856a.css" /><link rel="stylesheet" media="all" href="//a.academia-assets.com/assets/design_system/button-3cea6e0ad4715ed965c49bfb15dedfc632787b32ff6d8c3a474182b231146ab7.css" /><link rel="stylesheet" media="all" 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En este sentido, el filme Sans soleil (1982) supone una referencia ineludible al establecer un punto de acceso a una nueva etapa de su dilatada carrera donde el interés por las imágenes del presente se iría sustituyendo por una obsesión por las imágenes del pasado, ya sean aquellas que han servido para escribir la Historia, ya sean aquellas de carácter más íntimo que se arremolinan caóticamente en las memorias individuales. Unas y otras imágenes componen Sans soleil, imágenes acumuladas por un coleccionista consciente de la especial melancolía que las impregna, y que pasan a constituirse en escritura fílmica. Es precisamente esta escritura el objeto de estudio del presente artículo, más concretamente, la manera en la que ésta desarrolla un característico discurso sobre el tiempo, la imagen y la memoria que se demostrará decisivo en la posterior filmografía markeriana.\r\n \r\nAbstract:\r\nChris Marker’s films, which are considered to be some of the most representative examples of film-essay, have been marked until his recent death by a persistent questioning over the power and the purpose of Image. His film Sunless (1982) is at that respect an unavoidable reference when establishing a first step into a new phase within his long career. A phase where he slowly dropped interest for images of the present and developed instead an obsession for images from the past. The obsession comprised those images used to write History, as well as the more intimate ones that belong to the chaotic flow of individual memories. Sunless is made out of both kinds of images. 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if (!viewCountBody) { throw new Error('Failed to find work views element'); } viewCountBody.textContent = `${commaizedViewCount} views`; } catch (error) { // Remove the whole views element if there was some issue parsing. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); throw new Error(`Failed to parse view count: ${viewCount}`, error); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">Resumen Considerado uno de los ejemplos más representativos del ensayo fílmico, el cine de Chris Marker se ha caracterizado hasta la reciente fecha de su muerte por una insistente interrogación sobre el poder y la función de la Imagen. En este sentido, el filme Sans soleil (1982) supone una referencia ineludible al establecer un punto de acceso a una nueva etapa de su dilatada carrera donde el interés por las imágenes del presente se iría sustituyendo por una obsesión por las imágenes del pasado, ya sean aquellas que han servido para escribir la Historia, ya sean aquellas de carácter más íntimo que se arremolinan caóticamente en las memorias individuales. Unas y otras imágenes componen Sans soleil, imágenes acumuladas por un coleccionista consciente de la especial melancolía que las impregna, y que pasan a constituirse en escritura fílmica. Es precisamente esta escritura el objeto de estudio del presente artículo, más concretamente, la manera en la que ésta desarrolla un característico discurso sobre el tiempo, la imagen y la memoria que se demostrará decisivo en la posterior filmografía markeriana. Abstract: Chris Marker’s films, which are considered to be some of the most representative examples of film-essay, have been marked until his recent death by a persistent questioning over the power and the purpose of Image. His film Sunless (1982) is at that respect an unavoidable reference when establishing a first step into a new phase within his long career. A phase where he slowly dropped interest for images of the present and developed instead an obsession for images from the past. The obsession comprised those images used to write History, as well as the more intimate ones that belong to the chaotic flow of individual memories. Sunless is made out of both kinds of images. Images accumulated by a collector who is aware of the special melancholy they are steeped in. Images that become film writing themselves. This article explores this writing, and more specifically, its characteristic discourse about time, image and memory, which will prove to be decisive along the following markerian filmography. </p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":32022003,"attachmentType":"pdf","workUrl":"https://www.academia.edu/4689045/Tiempo_memoria_imagen_Sans_soleil_de_Chris_Marker_Time_memory_image_Chris_Marker_s_sunless"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":32022003,"attachmentType":"pdf","workUrl":"https://www.academia.edu/4689045/Tiempo_memoria_imagen_Sans_soleil_de_Chris_Marker_Time_memory_image_Chris_Marker_s_sunless"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div></div><div data-auto_select="false" data-client_id="331998490334-rsn3chp12mbkiqhl6e7lu2q0mlbu0f1b" data-doc_id="32022003" data-landing_url="https://www.academia.edu/4689045/Tiempo_memoria_imagen_Sans_soleil_de_Chris_Marker_Time_memory_image_Chris_Marker_s_sunless" data-login_uri="https://www.academia.edu/registrations/google_one_tap" data-moment_callback="onGoogleOneTapEvent" id="g_id_onload"></div><div class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="86187224" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/86187224/El_tiempo_la_memoria_y_el_compromiso_Chris_Marker_un_viaje_a_trav%C3%A9s_de_las_im%C3%A1genes">El tiempo, la memoria y el compromiso. 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Pocas veces la Edad Media ha estado tan presente, como fuente de inspiración ideológica y cobertura contra malignas influencias del extranjero, en nuestro país. De hecho, ni siquiera en la Edad Media, estamos en condiciones de afirmar, el gusto por la intransigencia, por la teología entendida como disciplina vigilante del muchas veces inmoral progreso, tuvo tanto calado en España. Porque, según nos enseña el No-Do, España está ahí, inmarcesible, gloriosa y, valga la redundancia, "española", desde la misma creación del mundo, o incluso antes (para una visión un tanto distinta, aunque también absurda, de las cosas vea nuestra Histeria de España).</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"NO-DO: El tiempo y la memoria","attachmentId":7144580,"attachmentType":"pdf","work_url":"https://www.academia.edu/1162128/NO_DO_El_tiempo_y_la_memoria","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/1162128/NO_DO_El_tiempo_y_la_memoria"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="38721473" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/38721473/El_tiempo_seg%C3%BAn_Paul_Ricoeur_Time_According_to_Paul_Ricoeur">El tiempo según Paul Ricoeur / Time According to Paul Ricoeur</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="98726950" href="https://upb-co.academia.edu/RevistaEscritosEscritos">Revista Escritos</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="28987478" href="https://conicet.academia.edu/FranciscoD%C3%ADezFischer">Francisco Díez Fischer</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Escritos, 2018</p><p class="ds-related-work--abstract ds2-5-body-sm">http://dx.doi.org/10.18566/escr.v26n57.a03 El tema del tiempo ha sido una de las principales paradojas que ha motivado el comienzo, desarrollo y evolucion de la filosofia de Paul Ricoeur. Ha sido un problema constante a lo largo de toda su obra y ha sido ampliamente discutido por sus interpretes. El objetivo de este trabajo es describir el surgimiento y evolución de este tema central hasta su culminacion en Temps et récit. A traves del método fenomenologico de la pregunta regresiva (Rückfrage), en la primera parte de este trabajo examinare la genesis y fuentes originarias del tema del tiempo y su evolución en las primeras obras de Ricoeur; en la segunda indagare el involucramiento de este tema con la vida de Ricoeur como preludio a la escritura de Temps et récit; finalmente en la tercera parte analizare el suceso e impacto de esta obra central y sus continuaciones en sus obras tardias. The issue of time is one of the most significant paradoxes that fostered the beginning, development and evolution of Paul Ricoeur’s philosophy; it has been a recurrent issue throughout his work and has been widely discussed by his interpreters. Bearing this in mind, the aim of the article is to describe the emergence and evolution of this central issue until its completion in Temps et récit. By means of the phenomenological method of back-inquiry (Rückfrage), the first section of the article explores the genesis and originary sources of the issue of time and its evolution throughout the early works of Ricoeur; the second section addresses the involvement of Ricoeur’s life with this particular issue, which led to the writing of Temps et récit; and, finally, the third section analyzes the impact of this critical work and the subsequent development it had in his latter works.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"El tiempo según Paul Ricoeur / Time According to Paul Ricoeur","attachmentId":58806182,"attachmentType":"pdf","work_url":"https://www.academia.edu/38721473/El_tiempo_seg%C3%BAn_Paul_Ricoeur_Time_According_to_Paul_Ricoeur","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/38721473/El_tiempo_seg%C3%BAn_Paul_Ricoeur_Time_According_to_Paul_Ricoeur"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="73750121" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/73750121/Ulysse_1982_de_Agn%C3%A8s_Varda_Breve_estudio_acerca_de_la_temporalidad_de_un_cortometraje_sobre_una_fotograf%C3%ADa_Ulysse_1982_by_Agn%C3%A8s_Varda_Brief_Study_on_the_Temporality_of_a_Short_Film_About_a_Photograph">Ulysse, 1982, de Agnès Varda. Breve estudio acerca de la temporalidad de un cortometraje sobre una fotografía Ulysse, 1982, by Agnès Varda. Brief Study on the Temporality of a Short Film About a Photograph</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2695624" href="https://ugto.academia.edu/MariaEugeniaRabadan">Maria Eugenia Rabadan</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Magotzi Boletin Científico de Artes del IA, 2022</p><p class="ds-related-work--abstract ds2-5-body-sm">This work tries to analyze Ulysse, 1982, by Agnès Varda: a short film about a photograph taken by the same author on a beach in La Mancha twenty-eight years ago to an Egyptian man, a child, and a dead goat. The analysis takes place in the field of visual arts studies. Particularly in the tradition of theories on temporality in the analysis of works. This tradition, which forms the warp and weft of this work, refers to authors such as George Kubler, George Didi-Huberman, Alexander Nagel, Christopher Wood, and Thomas Kuhn, among others. The central theme of Ulysse-as the author has also declared-in addition to the question of memory and time, is the relationship of memory and representation in the image. How can memory be represented in the moving image superimposed on the still image? How does filming include the complex framework of previous times, constantly updated, projected into the future, simultaneous, parallel, coexisting in the short film? I try, therefore, to examine these different temporalities contained in Ulysse, and the sense of plasticity that shapes Agnès Varda's work.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Ulysse, 1982, de Agnès Varda. Breve estudio acerca de la temporalidad de un cortometraje sobre una fotografía Ulysse, 1982, by Agnès Varda. Brief Study on the Temporality of a Short Film About a Photograph","attachmentId":82148892,"attachmentType":"pdf","work_url":"https://www.academia.edu/73750121/Ulysse_1982_de_Agn%C3%A8s_Varda_Breve_estudio_acerca_de_la_temporalidad_de_un_cortometraje_sobre_una_fotograf%C3%ADa_Ulysse_1982_by_Agn%C3%A8s_Varda_Brief_Study_on_the_Temporality_of_a_Short_Film_About_a_Photograph","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/73750121/Ulysse_1982_de_Agn%C3%A8s_Varda_Breve_estudio_acerca_de_la_temporalidad_de_un_cortometraje_sobre_una_fotograf%C3%ADa_Ulysse_1982_by_Agn%C3%A8s_Varda_Brief_Study_on_the_Temporality_of_a_Short_Film_About_a_Photograph"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="24315189" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/24315189/La_idea_del_tiempo_en_fotograf%C3%ADa_y_cine">La idea del tiempo en fotografía y cine</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2647000" href="https://ucm.academia.edu/CeliaVegaP%C3%A9rez">Celia Vega Pérez</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="24718525" href="https://urjc.academia.edu/LidiaEsteban">Lidia Esteban</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="21427862" href="https://independent.academia.edu/EDUARDOJOSECAMILORODRIGUEZMERCHAN">EDUARDO JOSE CAMILO RODRIGUEZ MERCHAN</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Tanto la fotografía como el cine son herramientas narrativas para las que el tiempo es un instrumento decisivo y primordial. La fotografía denuncia y delata, congelando el instante, la existencia de una realidad sugerida pero nunca demostrada por las artes plásticas anteriores al siglo XIX: la abstracción temporal. Y al mismo tiempo supone –como señala Dubois– la imposibilidad de pensar en otra cosa que no sea el propio acto fotográfico, el momento en el que el disparo inmortaliza una realidad, que “ya no es” a pesar de que será reproducida infinitamente.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"La idea del tiempo en fotografía y cine","attachmentId":44652500,"attachmentType":"pdf","work_url":"https://www.academia.edu/24315189/La_idea_del_tiempo_en_fotograf%C3%ADa_y_cine","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/24315189/La_idea_del_tiempo_en_fotograf%C3%ADa_y_cine"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="20098966" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/20098966/_Voglio_tempo_Reflejos_emblem%C3%A1ticos_en_Il_trionfo_del_Tempo_e_del_Disinganno_de_Benedetto_Pamphilj_y_Georg_Friedrich_Handel_IMAGO_5">"Voglio tempo". Reflejos emblemáticos en Il trionfo del Tempo e del Disinganno de Benedetto Pamphilj y Georg Friedrich Handel. IMAGO, 5.</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="40612800" href="https://ucm.academia.edu/lindenlea">Lucía Díaz Marroquín</a></div><p class="ds-related-work--abstract ds2-5-body-sm">ABSTRACT: Allegorical and emblematic images do not appear exclusively in visual literature: Genres such as the Italian or the Italian-inspired Counter-Reformation oratorios, cantatas and sacred or moral operas often contain images quite similar in form and function to those published in the Seventeenth and early Eighteenth-century European collections of emblems. This article analyses some of these parallelisms in the particular case of Il trionfo del Tempo e del Disinganno (c. 1707), by the librettist and patron of the arts Cardinal Benedetto Pamphilj and the composer Georg Friedrich Handel. KEYWORDS: Emblem, Opera, Oratorio, Academy, Discourse, Allegory, Rhetoric, Aural, Visual, Pamphilj, Handel, Time, Affects, Passions. RESUMEN: Las imágenes alegóricas o emblemáticas no resultan exclusivas de la literatura visual: géneros como el oratorio, la cantata y la ópera moral o sacra contrarreformista italiana o de inspiración italiana contienen a menudo imágenes muy similares en su forma y función a las que aparecen publicadas en las colecciones europeas de emblemas en los siglos XVII y XVIII. Este artículo analiza algunos de estos paralelismos en el caso de la obra Il trionfo del Tempo e del Disinganno (c. 1707), compuesta por Georg Friedrich Handel a partir de un libretto del poeta y mecenas Cardenal Benedetto Pamphilj. PALABRAS CLAVE: Emblema, ópera, oratorio, accademia, discurso, alegoría, retórica, auditivo, visual, Pamphilj, Handel, tiempo, afectos, pasiones.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"\"Voglio tempo\". Reflejos emblemáticos en Il trionfo del Tempo e del Disinganno de Benedetto Pamphilj y Georg Friedrich Handel. IMAGO, 5.","attachmentId":41006386,"attachmentType":"pdf","work_url":"https://www.academia.edu/20098966/_Voglio_tempo_Reflejos_emblem%C3%A1ticos_en_Il_trionfo_del_Tempo_e_del_Disinganno_de_Benedetto_Pamphilj_y_Georg_Friedrich_Handel_IMAGO_5","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/20098966/_Voglio_tempo_Reflejos_emblem%C3%A1ticos_en_Il_trionfo_del_Tempo_e_del_Disinganno_de_Benedetto_Pamphilj_y_Georg_Friedrich_Handel_IMAGO_5"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="3054139" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/3054139/En_el_principio_la_luna_L%C3%A4ndler_Helga_by_the_Tree_Saint_Sa%C3%A4nz_caminando_en_el_muelle_de_Santa_Barbara">En el principio la luna; Ländler; Helga by the Tree; Saint-Saänz caminando en el muelle de Santa Barbara</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="3510769" href="https://hofstra.academia.edu/MZapata">Miguel-Angel Zapata</a></div><p class="ds-related-work--metadata ds2-5-body-xs">1989</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"En el principio la luna; Ländler; Helga by the Tree; Saint-Saänz caminando en el muelle de Santa Barbara","attachmentId":50494877,"attachmentType":"pdf","work_url":"https://www.academia.edu/3054139/En_el_principio_la_luna_L%C3%A4ndler_Helga_by_the_Tree_Saint_Sa%C3%A4nz_caminando_en_el_muelle_de_Santa_Barbara","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/3054139/En_el_principio_la_luna_L%C3%A4ndler_Helga_by_the_Tree_Saint_Sa%C3%A4nz_caminando_en_el_muelle_de_Santa_Barbara"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="113449553" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/113449553/Espacio_y_Tiempo_Raum_und_Zeit_Por_Hermann_Minkowski_1908_">Espacio y Tiempo (Raum und Zeit) - Por Hermann Minkowski (1908)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="196205192" href="https://unac.academia.edu/OmarAnckaQuispe">Omar Ancka Quispe</a></div><p class="ds-related-work--metadata ds2-5-body-xs">1909</p><p class="ds-related-work--abstract ds2-5-body-sm">¡Muy Honorables! Las ideas sobre el Espacio y el Tiempo, que me gustaría desarrollar para ustedes, han crecido en terrenos de la física experimental. En ella reside su fuerza. Su tendencia es radical. A partir de ahora, el Espacio por si mismo y el Tiempo por si mismo, deberán de hundirse completamente en las sombras, y solamente una especie de unión de ambos podrá preservar su independencia.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Espacio y Tiempo (Raum und Zeit) - Por Hermann Minkowski (1908)","attachmentId":110405219,"attachmentType":"pdf","work_url":"https://www.academia.edu/113449553/Espacio_y_Tiempo_Raum_und_Zeit_Por_Hermann_Minkowski_1908_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/113449553/Espacio_y_Tiempo_Raum_und_Zeit_Por_Hermann_Minkowski_1908_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":32022003,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":32022003,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_32022003" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. You can download the paper by clicking the button above.</p></div></div></div></div><div class="ds-sidebar--container js-work-sidebar"><div class="ds-related-content--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="0" data-entity-id="112939267" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/112939267/EL_PASO_DEL_TIEMPO_COMO_POTENCIA_ELIJO_VIVIR_DE_SOL_NAVARRO_THE_PASSAGE_OF_TIME_AS_A_POWER_I_CHOOSE_TO_LIVE_BY_SOL_NAVARRO">EL PASO DEL TIEMPO COMO POTENCIA "ELIJO VIVIR", DE SOL NAVARRO / THE PASSAGE OF TIME AS A POWER "I CHOOSE TO LIVE", BY SOL NAVARRO</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="215694206" 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