The representation space codes construction Dr. Arch. Milagros Müller – Lic. Scenic Arts MSc. Fine Arts: History and Theory. Associate professor. Universidad Central de Venezuela. mullerm@ucv.ve mmuller@cantv.net Summary: From the spectator it is possible to be aware of the displacement and the redefinition of the representation space: the history seen from an spectator-investigator would be the sum of histories narrated by the diverse codes of presentation of the work: space, stage scene, useful things in the scene, illumination, make-up, clothes, music, sounds, etc., for which it is proposed the analysis from the perceived images, analyzed and interpreted by the spectator, for whom the global speech of the work is measured from its own rythm. Key Words: atopy, heterotopy, information-time-space. Fig.1 Sum of Histories of Richard Feymann Graph Reinterpreted. The necessity of a place in which to represent the time and the events that in it are located, lead to a space experience marked by the loss of the measures and the subversion of the scale: the photography, the cinema, the video and, finally, the cyberspace, with its virtual space. In the qualitative analysis of the space-time of representation the meaning of the narrator is introduced: the intentionality of the creator of those spaces, but it is inescapable that there arises the personal interpretation of the observer guided by the intuition, the reflection and the understanding of the work in its particular context. The notion space-time does not raise a fusion of the space with time but a metrics, where the so-called psychological space and physical space are two limited concepts. The psychological space is a determined way to perceive the physical space. According to Stephen Hawking, the imaginary time is indistinguishable from the space directions. It happens in the same way within the art, reason why I have set out to investigate in that "territory without borders" that allows the existence of human fictions in a space-time-information “Espacio-tiempo-información y Nueva Arquitectura" en "Espirales. Spirals" Quaderns Nº 27. Revista del Col-Legi D'arquitectes de Catalunya. Pp 5 - 11., of interactive, multiple, real and virtual character, of four dimensions, where there are no established rules nor fixed patterns but interconnections inferred between the events. The space of representation stopped being an stable, three-dimensional, continuous and objective space, to become interactive, multiple, heterogeneous and subjective space of more than three dimensions: essence, form and idea of an heterotopic and simultaneously atopic space, that arises at the moment of the intelligible apprehension of the work, the eidos, something simultaneously real and conceptual. With the Cashmere Effect Ibíd.., p. 205. «El espacio vacío está "lleno" de pares de partículas y antipartículas virtuales. Un par de placas metálicas actuará como espejos de dichas partículas y sólo permitirá que existan entre las placas pares virtuales con ciertas longitudes de onda resonantes. Esto se conoce como efecto casimir». (empty space is "full" of pairs of particles and virtual antiparticles. A pair of metallic plates will act as mirrors of these particles and will only allow that they exist between the virtual even plates with certain resonant wavelengths. This knows like Cashmere Effect) , it has been demonstrated the existence of virtual particles and its real effects. That condition of reality makes possible the existence of works created by man. The virtual reality is part of the existence, belongs to us, it is the scope of the fiction. The notions of atopy (absence of topography), heterotopy (multiplicity and diversity of topographies that could include atopic spaces), simultaneity, fragmentation, juxtaposition, differentiation, heterogeneity, discontinuity, residue, simulation, pastiche, bricollage, displacement, dislodging, deterritorialization and dematerialization, are some of the concepts that are managed today in the search of presentation of the artistic creations, like the ephemeral art, conceptual art, body art, food art, land art, installations, performances, happenings, action painting and cyber art, among others. The prevalence of fragments breaks with the purity of the individual arts and imposes multiplicity and collage. In the contemporary art traditional materials and techniques are combined with those of the cyberculture; an art with a hypertextual vocabulary arises in this way. We entered a crisis of the traditional realism, in the loss of the real referent, because it no longer had, mainly in the artistic productions, a vision of the object but of the maneuvers. In the presence of this new conception, the art has changed. The individual stage does not suffice for the representation of simultaneous realities, in virtual spaces and times, juxtaposed by the multiplicity of resources. The place of the represented action is effectively strengthened in the projections, in the monitor, in the memory of the people that listen to the music and the sounds; the space of representation is absorbed and reflected by the lens of the camera, and reinterpreted by the spectator. The constitution of the art work as a representation of its own space transforms the meaning of the theatrical building and of the museum. We see how libraries, galleries, train stations, restaurants, lakes, parks and any public space, can be converted in space of representation, hoping to become no-places M. Augè. Los “no lugares”. Espacios del anonimato. Una antropología de la sobremodernidad. Ed. Gedisa. Barcelona, España.. Any place may be converted by means of the art work in an intimate stage where a unique experience, impossible of being repeated, is shared. The space of representation of the current art seems to be born in the crossroad of different devices of time; the inclusion of virtual space-time juxtaposed by means of videos, movies, dance, music, sounds and illumination, incorporate in the work various microuniverses, in a sort of spatial-temporal schizophrenia that submit the spectator to an experience of momentary displacement, appropriating their internal spaces, in order to put them in direct relationship with the ones presented in the diverse lines of communication or “tracks”. The new art requires of a space incompatible and incomparable with the existent, “another” space pluridimensional, eidetic and of representation. Perhaps art is not searching for its own space, but seeks to appropriate of all the spaces, including the virtual, the imaginary, and the cyberspace. A cross-sectional exploration to the problem of the space of representation of the present art, invites to enter in the logic of the no-places and to a displacement towards the implicit dramatization in the atopic space of cinema, because the scenic space like the museographic space is, in last instance, the scope of the pure fiction, condition and pleasure of the reading of the art work. The “space that arises between the anomalies” goes further on of the architectural, urban, eidetic, or mass media space. It is “another” space, alternate, different, with dimensions still completely unknown. The spectator is the senso-perceptor of images. The visual and sonorous images are multiplied by the fragmentation. The fragmented reception of images no longer follows a lineal interpretation; it arises from a summatory of fragments, unique for each spectator, which equips it with a new system of values. In the present art, the juxtaposition of images produces a rupture in the temporary continuity that, combined with presentation of a virtual space as background, generates a spatial-temporary disorientation. The space of representation of the present art has been derealized by the inclusion of virtual spaces and times, juxtaposed to the space and the time of representation through videos, films, dance, music and illumination incorporated to the art work in a sort of spatial-temporary schizophrenia that submits the spectator to a experience of momentary derealization, that takes control of its internal spaces to put them in direct relation with those presented by the various lines of communications or tracks. Some manifestations of the contemporary art demand a new space of presentation. Body art takes control of the human body, transforming it into space of representation for the work that settles in him. The total art or art of relation in the space, uses the codes of music, songs, sounds, word, performance, clothes, make up, dance, choreography, hairdos, accessories, useful things in the scene and gestuality for the conscious and unconscious transformation of the space and handling of the environment. The transposition of codes of the scenic arts (theater, dance and cinema) towards the plastic arts, with the inclusion of mass media, has brought as a consequence a reintegration of the art that constructs its own space of presentation as the work develops. From the spectator it is possible to be aware of the displacement and the redefinition of the representation space: the history seen from an spectator-investigator would be the sum of histories narrated by the diverse codes of presentation of the work: space, stage scene, useful things in the scene, illumination, make-up, clothes, music, sounds, etc., for which it is proposed the analysis from the perceived images, analyzed and interpreted by the spectator, for whom the global speech of the work is measured from its own rythm. Bibliography Augé Marc. Los “no lugares”. Espacios del anonimato. Una antropología de la sobremodernidad, Ed. Gedisa., Barcelona, España, p.p. 83-85. Baudrillard, Jean. Cultura y Simulacro,. Ed. Kairos, Barcelona, España, 1987. Brook, Peter. El Espacio Vacío. Arte y técnica del teatro. Col Nexos. Ed. Península. Barcelona, España, 1986. Fernández, Francisco Alonso. 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