MACONDO! Is in that way that we get to another important point in Cien años de soledad, and it’s the topic of the dualities and how the time accompanies all this human development that can be called Historical, is waved with a mythical time together, that we can find in Genesis and Apocalypse’s notions, previously said, and that we could associate in the same way with the duality between the heaven and the earth presented in the novel. Alonso Aristizábal talk us about this aerial and terrestrial scenery in a speech given in the Jardín Botánico about the scenery in Macondo: ‘’Each latest writers found his/her own scenery as the world that wants to talk about, and his/her lens constitute another way to make discover the reader other possibilities of the life. Painters and sculptors of the 20th century forge what they define as their expression beyond objectivity and many elements of what can be denominated their way to feel and live. The art of the latest century is a way to see that involves a way of an only one subject and object’s destiny. It also applies the aerial scenery of the mentioned novel, and that have to do with the imagination and poetry of a lot of wings and butterflies that propose this saga. It’s the reason because it has a lot of importance the air of flight that is in it, and that gives to others beings the character of the announcement of new realities. In this sense, they are as visible as the places and legends that are waved together in its setting.’’[…]’’It’s also necessary to talk about the terrestrial scenery that is built on a concrete air, to form the duality between the heaven and the earth in García Márquez. Both own the same life and the same path, and its deafening airs are founded together although there are clear differences in its essence.’’ It’s for this reason that our intervention wanted to raise the spectator since the terrestrial level to the aerial scenery, providing a free circulation between both spaces and permitting that ascend through its structure and keeps virtually suspended in the wire net that forms it, and concentrating all the ethereal fragments of the book, as the flying rush mats of the gypsy, the Nicanor Father's levitation, the Remedios la Bellas's ascent, the yellow butterflies that accompanied to Mauricio Babilonia, in the death of José Arcadio Buendía and the raining of yellow flowers that we objectify in drops and making allusion to the last and following passage of100años de soledad