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class="js-work-strip profile--work_container" data-work-id="42724271"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42724271/II_CONOCIMIENTO_Y_DESOBEDIENCIA_EPIST%C3%89MICA_Walter_D_Mignolo"><img alt="Research paper thumbnail of II. CONOCIMIENTO Y DESOBEDIENCIA EPISTÉMICA- Walter D. Mignolo" class="work-thumbnail" src="https://attachments.academia-assets.com/62940075/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42724271/II_CONOCIMIENTO_Y_DESOBEDIENCIA_EPIST%C3%89MICA_Walter_D_Mignolo">II. CONOCIMIENTO Y DESOBEDIENCIA EPISTÉMICA- Walter D. Mignolo</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">II. CONOCIMIENTO Y DESOBEDIENCIA EPISTÉMICA Walter D. 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Analisaremos...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">RESUMO: O estudo discute o transitar do artista Cildo Meireles pela arte conceitual. Analisaremos alguns de seus trabalhos, datados do final dos anos 1960 e dos anos 1970, que lidam de maneira mais próxima com a articulação do par objeto e linguagem. Nosso objetivo é questionar como o artista busca superar o "excesso de retórica" verbal de algumas práticas conceituais e como constrói os fluxos variáveis do pensamento que exploram a falibilidade do que parece determinado, provocam desvios e desconcertam o olhar e o raciocínio. Palavras-chave: Arte conceitual. Objeto e palavra. Arte e vida. ABSTRACT: The study discusses the transit of Cildo Meireles through conceptual art. We are going to analyse some of his works, dated from the end of the 60's and 70's, which deal with a closer way on the articulation of the pair object and word. We aim to question how the artist overcomes the verbal " rethoric excess" on some conceptual pratices and how he builds the variable trains of thought which explore the failability of what appears to be determined, provoking diversions and baffling the look and the reasoning. Key word: conceptual art, object and, art and life. Das possibilidades de "trabalhar na fronteira das coisas" O trabalho artístico de Cildo Meireles vem se construindo sobre um campo maleável, tanto na concepção de relações engendradas na materialização da obra quanto nos procedimentos de interferência que acionam a ação do espectador. Nosso estudo questiona o transitar conceitual do artista e propõe-se a discutir alguns de seus trabalhos que, no final dos anos 1960 e os anos 1970, exploram e trazem à luz o par objeto e linguagem. Sabe-se que o agenciamento da palavra e do objeto se apresenta como recurso vastamente explorado pela produção artística na pós-modernidade e, ainda, que se tem colocado como uma das problemáticas que aponta a quebra dos limites rígidos do que se convencionou designar como região própria da arte. Em trabalhos centrados na desmaterialização do objeto artístico, a palavra pode funcionar como própria matéria da arte e como única via de construção do sentido conceitual do trabalho, funcionando como enigma ou chave acionadora</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="26070b479820c794264e7e795dad7e05" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62940068,"asset_id":42724270,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62940068/download_file?st=MTczMjQ3ODI4MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42724270"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42724270"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42724270; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42724270]").text(description); $(".js-view-count[data-work-id=42724270]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42724270; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42724270']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42724270, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "26070b479820c794264e7e795dad7e05" } } $('.js-work-strip[data-work-id=42724270]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42724270,"title":"CILDO MEIRELES: \"TRABALHAR NA FRONTEIRA DAS COISAS\"","translated_title":"","metadata":{"abstract":"RESUMO: O estudo discute o transitar do artista Cildo Meireles pela arte conceitual. 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We aim to question how the artist overcomes the verbal \" rethoric excess\" on some conceptual pratices and how he builds the variable trains of thought which explore the failability of what appears to be determined, provoking diversions and baffling the look and the reasoning. Key word: conceptual art, object and, art and life. Das possibilidades de \"trabalhar na fronteira das coisas\" O trabalho artístico de Cildo Meireles vem se construindo sobre um campo maleável, tanto na concepção de relações engendradas na materialização da obra quanto nos procedimentos de interferência que acionam a ação do espectador. Nosso estudo questiona o transitar conceitual do artista e propõe-se a discutir alguns de seus trabalhos que, no final dos anos 1960 e os anos 1970, exploram e trazem à luz o par objeto e linguagem. 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Das possibilidades de \"trabalhar na fronteira das coisas\" O trabalho artístico de Cildo Meireles vem se construindo sobre um campo maleável, tanto na concepção de relações engendradas na materialização da obra quanto nos procedimentos de interferência que acionam a ação do espectador. Nosso estudo questiona o transitar conceitual do artista e propõe-se a discutir alguns de seus trabalhos que, no final dos anos 1960 e os anos 1970, exploram e trazem à luz o par objeto e linguagem. Sabe-se que o agenciamento da palavra e do objeto se apresenta como recurso vastamente explorado pela produção artística na pós-modernidade e, ainda, que se tem colocado como uma das problemáticas que aponta a quebra dos limites rígidos do que se convencionou designar como região própria da arte. 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La conurbación es tan extendida y diversa que en vez de una ciudad podríamos hablar de cien ciudades, a veces parecidas y otras tantas distintas. Existe, es cierto, un "imaginario" típico del habitar en Buenos Aires. Pero también-y ese es nuestro tema en este momento-un "imaginario" de otra forma de habitar que no es la del centro de la ciudad; es el de vivir "fuera" del centro, y no por casualidad. El 11 de junio de 1580 Juan de Garay fundó definitivamente la Ciudad de Buenos Aires. Desembarcó en el sitio elegido, izó el pendón de Castilla, plantó el rollo de la justicia y labró el Acta de Fundación. La ciudad nacía con un sentido y una misión: sería puerta y puerto del país. Tendría una razón geopolítica a escala atlántica, sudamericana y a la vez austral. En el punto geométrico en que Garay marcó el nacimiento de la ciudad, nacería también un proyecto urbano que atravesaría los siglos. Un proyecto con centro, periferia, campos, rutas y puerto. En síntesis, Buenos Aires nacía con una razón y una morfología, pero también con un ideal: habitar y gobernar, pero habitar con cierta calidad. Es una de las claves de su identidad. En 1580, luego de más de diez días de exploración de la costa para elegir el mejor sitio para el emplazamiento, Garay dispuso la traza de la futura ciudad. Rectángulo cósmico paralelo a la costa del Río de la Plata y orientado según los puntos cardinales cumpliendo con las disposiciones legales españolas para fundación de ciudades en Indias. El damero tiene 16 manzanas de frente y nueve de profundidad y alrededor se extiende el ejido. Por fuera, a 45º con respecto a la traza urbana, las chacras son bandas paralelas que, a partir de un escaso frente sobre la cresta de la barranca, se extienden hacia el interior alejándose hasta alcanzar la profundidad de una legua. Así, desde el plano al terreno, la ciudad nació con un diseño geométrico básico. Pero también allí hay un sentido higiénico. ¿No sostenía ya Aristóteles en su "Política", que entre las cosas que deben tenerse en cuenta para fundar una ciudad, "la primera y más importante es la salubridad"? Las chacras de las afueras El crecimiento de la ciudad fue muy lento durante sus primeros dos siglos de vida: pocos habitantes, pocos edificios, pocas manzanas realmente ocupadas. Durante doscientos años la traza de Garay parecía excesivamente ambiciosa para un enclave condenado a vegetar sin esperanza, limitado su puerto al cabotaje, por decisión tozuda de los intereses monopolistas centrados en el Virreinato del Perú. Buenos Aires era tan pequeña que el centro y el resto de la ciudad apenas se diferenciaban. Fuera del "centro", las construcciones se hallaban muy espaciadas. Desde muy temprano, la zona rural que empezaba en la actual Plaza San Martín y se desplegaba hacia el noroeste, se conoció como "El Pago de la Costa".</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="99c2022d5154fd1745c81d45bdcc05a7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62940063,"asset_id":42724269,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62940063/download_file?st=MTczMjQ3ODI4MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42724269"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42724269"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42724269; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42724269]").text(description); $(".js-view-count[data-work-id=42724269]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42724269; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42724269']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42724269, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "99c2022d5154fd1745c81d45bdcc05a7" } } $('.js-work-strip[data-work-id=42724269]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42724269,"title":"HABITAR FUERA DEL CENTRO: QUINTAS, CASERONES Y VILLAS (LA ILUSIÓN DEL VERDE","translated_title":"","metadata":{"abstract":"Abriendo puertas a la tierra Buenos Aires, ciudad joven, posee, sin embargo una riqueza y una complejidad poco frecuentes. La conurbación es tan extendida y diversa que en vez de una ciudad podríamos hablar de cien ciudades, a veces parecidas y otras tantas distintas. Existe, es cierto, un \"imaginario\" típico del habitar en Buenos Aires. Pero también-y ese es nuestro tema en este momento-un \"imaginario\" de otra forma de habitar que no es la del centro de la ciudad; es el de vivir \"fuera\" del centro, y no por casualidad. El 11 de junio de 1580 Juan de Garay fundó definitivamente la Ciudad de Buenos Aires. Desembarcó en el sitio elegido, izó el pendón de Castilla, plantó el rollo de la justicia y labró el Acta de Fundación. La ciudad nacía con un sentido y una misión: sería puerta y puerto del país. Tendría una razón geopolítica a escala atlántica, sudamericana y a la vez austral. En el punto geométrico en que Garay marcó el nacimiento de la ciudad, nacería también un proyecto urbano que atravesaría los siglos. Un proyecto con centro, periferia, campos, rutas y puerto. En síntesis, Buenos Aires nacía con una razón y una morfología, pero también con un ideal: habitar y gobernar, pero habitar con cierta calidad. Es una de las claves de su identidad. En 1580, luego de más de diez días de exploración de la costa para elegir el mejor sitio para el emplazamiento, Garay dispuso la traza de la futura ciudad. Rectángulo cósmico paralelo a la costa del Río de la Plata y orientado según los puntos cardinales cumpliendo con las disposiciones legales españolas para fundación de ciudades en Indias. El damero tiene 16 manzanas de frente y nueve de profundidad y alrededor se extiende el ejido. Por fuera, a 45º con respecto a la traza urbana, las chacras son bandas paralelas que, a partir de un escaso frente sobre la cresta de la barranca, se extienden hacia el interior alejándose hasta alcanzar la profundidad de una legua. Así, desde el plano al terreno, la ciudad nació con un diseño geométrico básico. Pero también allí hay un sentido higiénico. ¿No sostenía ya Aristóteles en su \"Política\", que entre las cosas que deben tenerse en cuenta para fundar una ciudad, \"la primera y más importante es la salubridad\"? Las chacras de las afueras El crecimiento de la ciudad fue muy lento durante sus primeros dos siglos de vida: pocos habitantes, pocos edificios, pocas manzanas realmente ocupadas. Durante doscientos años la traza de Garay parecía excesivamente ambiciosa para un enclave condenado a vegetar sin esperanza, limitado su puerto al cabotaje, por decisión tozuda de los intereses monopolistas centrados en el Virreinato del Perú. Buenos Aires era tan pequeña que el centro y el resto de la ciudad apenas se diferenciaban. Fuera del \"centro\", las construcciones se hallaban muy espaciadas. Desde muy temprano, la zona rural que empezaba en la actual Plaza San Martín y se desplegaba hacia el noroeste, se conoció como \"El Pago de la Costa\"."},"translated_abstract":"Abriendo puertas a la tierra Buenos Aires, ciudad joven, posee, sin embargo una riqueza y una complejidad poco frecuentes. La conurbación es tan extendida y diversa que en vez de una ciudad podríamos hablar de cien ciudades, a veces parecidas y otras tantas distintas. Existe, es cierto, un \"imaginario\" típico del habitar en Buenos Aires. Pero también-y ese es nuestro tema en este momento-un \"imaginario\" de otra forma de habitar que no es la del centro de la ciudad; es el de vivir \"fuera\" del centro, y no por casualidad. El 11 de junio de 1580 Juan de Garay fundó definitivamente la Ciudad de Buenos Aires. Desembarcó en el sitio elegido, izó el pendón de Castilla, plantó el rollo de la justicia y labró el Acta de Fundación. La ciudad nacía con un sentido y una misión: sería puerta y puerto del país. Tendría una razón geopolítica a escala atlántica, sudamericana y a la vez austral. En el punto geométrico en que Garay marcó el nacimiento de la ciudad, nacería también un proyecto urbano que atravesaría los siglos. Un proyecto con centro, periferia, campos, rutas y puerto. En síntesis, Buenos Aires nacía con una razón y una morfología, pero también con un ideal: habitar y gobernar, pero habitar con cierta calidad. Es una de las claves de su identidad. En 1580, luego de más de diez días de exploración de la costa para elegir el mejor sitio para el emplazamiento, Garay dispuso la traza de la futura ciudad. Rectángulo cósmico paralelo a la costa del Río de la Plata y orientado según los puntos cardinales cumpliendo con las disposiciones legales españolas para fundación de ciudades en Indias. El damero tiene 16 manzanas de frente y nueve de profundidad y alrededor se extiende el ejido. Por fuera, a 45º con respecto a la traza urbana, las chacras son bandas paralelas que, a partir de un escaso frente sobre la cresta de la barranca, se extienden hacia el interior alejándose hasta alcanzar la profundidad de una legua. Así, desde el plano al terreno, la ciudad nació con un diseño geométrico básico. Pero también allí hay un sentido higiénico. ¿No sostenía ya Aristóteles en su \"Política\", que entre las cosas que deben tenerse en cuenta para fundar una ciudad, \"la primera y más importante es la salubridad\"? Las chacras de las afueras El crecimiento de la ciudad fue muy lento durante sus primeros dos siglos de vida: pocos habitantes, pocos edificios, pocas manzanas realmente ocupadas. Durante doscientos años la traza de Garay parecía excesivamente ambiciosa para un enclave condenado a vegetar sin esperanza, limitado su puerto al cabotaje, por decisión tozuda de los intereses monopolistas centrados en el Virreinato del Perú. Buenos Aires era tan pequeña que el centro y el resto de la ciudad apenas se diferenciaban. Fuera del \"centro\", las construcciones se hallaban muy espaciadas. Desde muy temprano, la zona rural que empezaba en la actual Plaza San Martín y se desplegaba hacia el noroeste, se conoció como \"El Pago de la Costa\".","internal_url":"https://www.academia.edu/42724269/HABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERONES_Y_VILLAS_LA_ILUSI%C3%93N_DEL_VERDE","translated_internal_url":"","created_at":"2020-04-13T08:24:25.538-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":3768159,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":62940063,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62940063/thumbnails/1.jpg","file_name":"Habitar_fuera_del_centro-Brandariz20200413-51220-1iq6kd3.pdf","download_url":"https://www.academia.edu/attachments/62940063/download_file?st=MTczMjQ3ODI4MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"HABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERON.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62940063/Habitar_fuera_del_centro-Brandariz20200413-51220-1iq6kd3-libre.pdf?1586791934=\u0026response-content-disposition=attachment%3B+filename%3DHABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERON.pdf\u0026Expires=1732481881\u0026Signature=ag4uIG4jV1j5yo~L4rC8Zq4d6II~avjSMEd9whOge6i84nCe7QBZbz8CIlgo5nVrPp6SbcpUxrUDCE3Py03nByA7bcUXh3s2FhsYiPy4dG0hvp3CFVpcNBJZ35cajLxDXHGYQLomXiILMSnCz42nayLwzEQq2dDvDfYRFHSTQZJkmeHZmeBmxDfUFiuOux0cWVWNmq6BSk7lDgyyqDh97gsOo4QHB-NdGKiyE8N6JqKf2V1UOIxX8cBnCwcB~Ne5S5sSliKK7fzGVWajHPPu79UrlmGUcBtQzVefr~n7jPiZIJJ~ge9AtbiYabvk1KwWojDY-RmbuAoLWbd0QIHTGg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"HABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERONES_Y_VILLAS_LA_ILUSIÓN_DEL_VERDE","translated_slug":"","page_count":28,"language":"es","content_type":"Work","owner":{"id":3768159,"first_name":"Sonia","middle_initials":null,"last_name":"Gonzalez","page_name":"SoniaGonzalez2","domain_name":"independent","created_at":"2013-04-12T01:46:25.435-07:00","display_name":"Sonia Gonzalez","url":"https://independent.academia.edu/SoniaGonzalez2"},"attachments":[{"id":62940063,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62940063/thumbnails/1.jpg","file_name":"Habitar_fuera_del_centro-Brandariz20200413-51220-1iq6kd3.pdf","download_url":"https://www.academia.edu/attachments/62940063/download_file?st=MTczMjQ3ODI4MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"HABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERON.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62940063/Habitar_fuera_del_centro-Brandariz20200413-51220-1iq6kd3-libre.pdf?1586791934=\u0026response-content-disposition=attachment%3B+filename%3DHABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERON.pdf\u0026Expires=1732481881\u0026Signature=ag4uIG4jV1j5yo~L4rC8Zq4d6II~avjSMEd9whOge6i84nCe7QBZbz8CIlgo5nVrPp6SbcpUxrUDCE3Py03nByA7bcUXh3s2FhsYiPy4dG0hvp3CFVpcNBJZ35cajLxDXHGYQLomXiILMSnCz42nayLwzEQq2dDvDfYRFHSTQZJkmeHZmeBmxDfUFiuOux0cWVWNmq6BSk7lDgyyqDh97gsOo4QHB-NdGKiyE8N6JqKf2V1UOIxX8cBnCwcB~Ne5S5sSliKK7fzGVWajHPPu79UrlmGUcBtQzVefr~n7jPiZIJJ~ge9AtbiYabvk1KwWojDY-RmbuAoLWbd0QIHTGg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="42724268"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42724268/Manifiesto_afectivista_Brian_Holmes"><img alt="Research paper thumbnail of Manifiesto afectivista (Brian Holmes" class="work-thumbnail" src="https://attachments.academia-assets.com/62940054/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42724268/Manifiesto_afectivista_Brian_Holmes">Manifiesto afectivista (Brian Holmes</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Traducción de Javier Toscano revisada por Brian Holmes En el siglo XX, el arte se juzgó de acuerd...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Traducción de Javier Toscano revisada por Brian Holmes En el siglo XX, el arte se juzgó de acuerdo con el estado existente del medio. Lo que importaba era el tipo de ruptura que hacía, los elementos formales e inesperados que aportaba, la manera en que desplazaba las convenciones del género o la tradición. La recompensa al final del proceso de evaluación era un sentido distinto de lo que el arte podía ser, un nuevo ámbito de posibilidades para lo estético. Hoy todo eso ha cambiado definitivamente. El trasfondo frente al cual el arte se sitúa ahora es un estado particular de la sociedad. Lo que una instalación, un performance, un concepto o una imagen mediada pueden hacer con sus medios formales y semióticos es marcar un cambio posible o real respecto de las leyes, las costumbres, las medidas, las nociones de civilidad, los dispositivos técnicos o los organizacionales que definen cómo debemos de comportarnos y cómo debemos relacionarnos unos a otros en determinado tiempo y lugar. Lo que hoy en día buscamos en el arte es una manera diferente de vivir, una oportunidad fresca de coexistencia. ¿Cómo es que esa oportunidad viene a darse? La expresión libera afecto, y el afecto es lo que mueve. La presencia, la gestualización y el habla transforman la cualidad del contacto entre las personas, crean tanto quiebres como junturas, y las técnicas expresivas del arte pueden multiplicar estos cambios inmediatos a lo largo de miles de caminos de la mente y los sentidos. Un evento artístico no requiere de un juez objetivo. Sabes que ha ocurrido cuando en su estela tú puedes traer algo más a la existencia. El activismo artístico es un afectivismo, abre y expande territorios. Estos territorios se ocupan con el compartir de una experiencia doble: una partición del yo privado en el que cada persona se halla encubierto, y del orden social que ha impuesto esa forma particular de privacidad o privación. Cuando un territorio de posibilidad emerge, cambia el mapa social, tal como una avalancha, una inundación o un volcán lo hacen en la naturaleza. La manera más fácil en que la sociedad protege su forma existente es la simple negación, pretendiendo que el cambio nunca ha tenido lugar: y eso de hecho funciona en el</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="aa16f9274500fcda37c174c332e16801" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62940054,"asset_id":42724268,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62940054/download_file?st=MTczMjQ3ODI4Miw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42724268"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42724268"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42724268; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42724268]").text(description); $(".js-view-count[data-work-id=42724268]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42724268; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42724268']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42724268, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "aa16f9274500fcda37c174c332e16801" } } $('.js-work-strip[data-work-id=42724268]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42724268,"title":"Manifiesto afectivista (Brian Holmes","translated_title":"","metadata":{"abstract":"Traducción de Javier Toscano revisada por Brian Holmes En el siglo XX, el arte se juzgó de acuerdo con el estado existente del medio. Lo que importaba era el tipo de ruptura que hacía, los elementos formales e inesperados que aportaba, la manera en que desplazaba las convenciones del género o la tradición. La recompensa al final del proceso de evaluación era un sentido distinto de lo que el arte podía ser, un nuevo ámbito de posibilidades para lo estético. Hoy todo eso ha cambiado definitivamente. El trasfondo frente al cual el arte se sitúa ahora es un estado particular de la sociedad. Lo que una instalación, un performance, un concepto o una imagen mediada pueden hacer con sus medios formales y semióticos es marcar un cambio posible o real respecto de las leyes, las costumbres, las medidas, las nociones de civilidad, los dispositivos técnicos o los organizacionales que definen cómo debemos de comportarnos y cómo debemos relacionarnos unos a otros en determinado tiempo y lugar. Lo que hoy en día buscamos en el arte es una manera diferente de vivir, una oportunidad fresca de coexistencia. ¿Cómo es que esa oportunidad viene a darse? La expresión libera afecto, y el afecto es lo que mueve. La presencia, la gestualización y el habla transforman la cualidad del contacto entre las personas, crean tanto quiebres como junturas, y las técnicas expresivas del arte pueden multiplicar estos cambios inmediatos a lo largo de miles de caminos de la mente y los sentidos. Un evento artístico no requiere de un juez objetivo. Sabes que ha ocurrido cuando en su estela tú puedes traer algo más a la existencia. El activismo artístico es un afectivismo, abre y expande territorios. Estos territorios se ocupan con el compartir de una experiencia doble: una partición del yo privado en el que cada persona se halla encubierto, y del orden social que ha impuesto esa forma particular de privacidad o privación. 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Lo que una instalación, un performance, un concepto o una imagen mediada pueden hacer con sus medios formales y semióticos es marcar un cambio posible o real respecto de las leyes, las costumbres, las medidas, las nociones de civilidad, los dispositivos técnicos o los organizacionales que definen cómo debemos de comportarnos y cómo debemos relacionarnos unos a otros en determinado tiempo y lugar. Lo que hoy en día buscamos en el arte es una manera diferente de vivir, una oportunidad fresca de coexistencia. ¿Cómo es que esa oportunidad viene a darse? La expresión libera afecto, y el afecto es lo que mueve. La presencia, la gestualización y el habla transforman la cualidad del contacto entre las personas, crean tanto quiebres como junturas, y las técnicas expresivas del arte pueden multiplicar estos cambios inmediatos a lo largo de miles de caminos de la mente y los sentidos. Un evento artístico no requiere de un juez objetivo. Sabes que ha ocurrido cuando en su estela tú puedes traer algo más a la existencia. El activismo artístico es un afectivismo, abre y expande territorios. Estos territorios se ocupan con el compartir de una experiencia doble: una partición del yo privado en el que cada persona se halla encubierto, y del orden social que ha impuesto esa forma particular de privacidad o privación. Cuando un territorio de posibilidad emerge, cambia el mapa social, tal como una avalancha, una inundación o un volcán lo hacen en la naturaleza. La manera más fácil en que la sociedad protege su forma existente es la simple negación, pretendiendo que el cambio nunca ha tenido lugar: y eso de hecho funciona en el","internal_url":"https://www.academia.edu/42724268/Manifiesto_afectivista_Brian_Holmes","translated_internal_url":"","created_at":"2020-04-13T08:24:25.476-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":3768159,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":62940054,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62940054/thumbnails/1.jpg","file_name":"BrianHolmes_ManifestoAfectivista_201020200413-80126-g3ca5z.pdf","download_url":"https://www.academia.edu/attachments/62940054/download_file?st=MTczMjQ3ODI4Miw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Manifiesto_afectivista_Brian_Holmes.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62940054/BrianHolmes_ManifestoAfectivista_201020200413-80126-g3ca5z-libre.pdf?1586791927=\u0026response-content-disposition=attachment%3B+filename%3DManifiesto_afectivista_Brian_Holmes.pdf\u0026Expires=1732481882\u0026Signature=VxY8~4cvm3FxpqLU5vSoRBvgxbs5KiAvZMQYh9JzzCvhd5TEcj7MGCJDRiZr1jUPNgL0VuNqLHxS2w4w301l0caKWyheLKYSmymhT3v3SzTC-vPm-NqklMS004lqzaO-rKsL131DnmnthvisR7df-XIw-LflAMFLa0P4kig7el4YcDpUv~rMsZPf3kt0rK2OJwcLNOtsSVs0LIbeAcFrRJWzCJ3N2ST~XLh888whHF~Pz1UMdPv8X57zleXzrkZ-U3OZFZS-rC48pOoJxAKU86cmDPp5FETFa9XZUNFV234AP7S6dgAa1KlJbfuAdF3GLuRxiCExD0O3ZBNPRXU4UQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Manifiesto_afectivista_Brian_Holmes","translated_slug":"","page_count":3,"language":"es","content_type":"Work","owner":{"id":3768159,"first_name":"Sonia","middle_initials":null,"last_name":"Gonzalez","page_name":"SoniaGonzalez2","domain_name":"independent","created_at":"2013-04-12T01:46:25.435-07:00","display_name":"Sonia Gonzalez","url":"https://independent.academia.edu/SoniaGonzalez2"},"attachments":[{"id":62940054,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62940054/thumbnails/1.jpg","file_name":"BrianHolmes_ManifestoAfectivista_201020200413-80126-g3ca5z.pdf","download_url":"https://www.academia.edu/attachments/62940054/download_file?st=MTczMjQ3ODI4Miw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Manifiesto_afectivista_Brian_Holmes.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62940054/BrianHolmes_ManifestoAfectivista_201020200413-80126-g3ca5z-libre.pdf?1586791927=\u0026response-content-disposition=attachment%3B+filename%3DManifiesto_afectivista_Brian_Holmes.pdf\u0026Expires=1732481882\u0026Signature=VxY8~4cvm3FxpqLU5vSoRBvgxbs5KiAvZMQYh9JzzCvhd5TEcj7MGCJDRiZr1jUPNgL0VuNqLHxS2w4w301l0caKWyheLKYSmymhT3v3SzTC-vPm-NqklMS004lqzaO-rKsL131DnmnthvisR7df-XIw-LflAMFLa0P4kig7el4YcDpUv~rMsZPf3kt0rK2OJwcLNOtsSVs0LIbeAcFrRJWzCJ3N2ST~XLh888whHF~Pz1UMdPv8X57zleXzrkZ-U3OZFZS-rC48pOoJxAKU86cmDPp5FETFa9XZUNFV234AP7S6dgAa1KlJbfuAdF3GLuRxiCExD0O3ZBNPRXU4UQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Drafts" id="Drafts"><h3 class="profile--tab_heading_container">Drafts by Sonia Gonzalez</h3></div><div class="js-work-strip profile--work_container" data-work-id="42724201"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42724201/KUSCH_Rodolfo_Anotaciones_para_una_estetica_de_lo_americano20200413_22044_1f88vs9"><img alt="Research paper thumbnail of KUSCH Rodolfo Anotaciones para una estetica de lo americano20200413 22044 1f88vs9" class="work-thumbnail" src="https://attachments.academia-assets.com/62939995/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42724201/KUSCH_Rodolfo_Anotaciones_para_una_estetica_de_lo_americano20200413_22044_1f88vs9">KUSCH Rodolfo Anotaciones para una estetica de lo americano20200413 22044 1f88vs9</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El problema del arte en América Latina es el problema de su vida política, social y económica. Se...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El problema del arte en América Latina es el problema de su vida política, social y económica. Se trata de la misma alternancia amarga entre luz y sombra, la misma reversión de lo que nos parece real y firme y nos infunde placer, por el sentimiento de lo tenebroso y una realidad amorfa y sombría. Detrás del formalismo elegante de Mitre, la fealdad heroica del Martín Fierro. El arte americano es dual, bifronte con dos caras, que mantienen entre sí un abismo similar a la oposición maldita entre Dios y el Diablo. Y es que hay una angustia original que sostiene lo perfecto y suprime lo imperfecto, y que regula las apetencias de tal modo que lo sombrío y tenebroso sea desplazado a un segundo plano. Y ello más que nada en función de una urgente apetencia que prefiere lo hecho a lo amorfo. América es la tierra de las cosas absolutamente hechas y, para amparar este criterio, se cobija detrás de antiguos mitos de represión, revitalizando, por ejemplo, una moral y un estoicismo que ya fueron abandonados en su significación absoluta por Occidente. En el fondo se trata de una cultura vieja que se replantea problemas absolutamente nuevos, solucionándolos por el lado del mito. Hay cierta ausencia de arrojo, o mejor, una sistemática sustracción de savia vital para dar a lo nuevo un contenido vigoroso. Como la urgencia de vivir subvierte los problemas, imponiendo soluciones por vía de la supresión, se suprime en todos los casos lo realmente vital. Y lo realmente vital se halla por debajo de lo social, por suerte de proceso de amparo, que asume el grupo social medio, subvirtiendo lo vital a las formas logradas o adquiridas. El miedo de vivir lo paraliza todo y, más aún, el miedo de vivir "lo americano". De esta manera, el verdadero sentido de la moralidad media o del arte medio consiste, antes que en un arte o en una moral, en un simple canon que subsume a la verdadera vida. Así toda la situación social, política, cultural o artística tiende a asesinar a la inferior y hace arte urbano matando al rural, como también se hace arte rural matando al ciudadano. El arte surge así de un miedo original que cuestiona a lo amorfo su falta de forma. La visión que un artista corriente tiene de lo americano, contiene esa irritación por la ausencia de equilibrio formal. Se refugia de inmediato en esa predisposición colectiva al estrato, a lo formal, a lo estable, llevado por una especie de pánico de que lo que está abajo pudiera destruir lo de arriba. Y en el caso de rozar algo muy hondo, que penetre lo americano, el artista o el escritor tienden sobre esa hondura un barroco conceptual sutilmente entretejido para cerrar toda posibilidad de visión o resquicio hacia lo viviente. De ahí que se mienta, porque esa es la ley. Se miente siendo federal y también se miente siendo unitario. En la esencia misma de esa actividad mentirosa yace un acto de conjuración de aquel espanto original de saber para qué se escribe, se lucha, se enseña o se vive en América. Es el amargo estar de mas o de menos en un grupo humano que se desvive únicamente por aglutinarse buscando el amparo sin saber ante qué. Segunda parte LA ESTÉTICA DE LO TENEBROSO Para una estructura moral de fuga, resulta imprescindible acentuar lo que en arte es visible y formal. La estética, implícita en nuestro ámbito, tiende a valorizar el producto artístico sobre la génesis de ese producto, o sea la obra sobre el artista.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c06b56131e721dde0b7d2844b6308c25" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62939995,"asset_id":42724201,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62939995/download_file?st=MTczMjQ3ODI4NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42724201"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42724201"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42724201; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42724201]").text(description); $(".js-view-count[data-work-id=42724201]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42724201; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42724201']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42724201, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c06b56131e721dde0b7d2844b6308c25" } } $('.js-work-strip[data-work-id=42724201]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42724201,"title":"KUSCH Rodolfo Anotaciones para una estetica de lo americano20200413 22044 1f88vs9","translated_title":"","metadata":{"abstract":"El problema del arte en América Latina es el problema de su vida política, social y económica. Se trata de la misma alternancia amarga entre luz y sombra, la misma reversión de lo que nos parece real y firme y nos infunde placer, por el sentimiento de lo tenebroso y una realidad amorfa y sombría. Detrás del formalismo elegante de Mitre, la fealdad heroica del Martín Fierro. El arte americano es dual, bifronte con dos caras, que mantienen entre sí un abismo similar a la oposición maldita entre Dios y el Diablo. Y es que hay una angustia original que sostiene lo perfecto y suprime lo imperfecto, y que regula las apetencias de tal modo que lo sombrío y tenebroso sea desplazado a un segundo plano. Y ello más que nada en función de una urgente apetencia que prefiere lo hecho a lo amorfo. América es la tierra de las cosas absolutamente hechas y, para amparar este criterio, se cobija detrás de antiguos mitos de represión, revitalizando, por ejemplo, una moral y un estoicismo que ya fueron abandonados en su significación absoluta por Occidente. En el fondo se trata de una cultura vieja que se replantea problemas absolutamente nuevos, solucionándolos por el lado del mito. Hay cierta ausencia de arrojo, o mejor, una sistemática sustracción de savia vital para dar a lo nuevo un contenido vigoroso. Como la urgencia de vivir subvierte los problemas, imponiendo soluciones por vía de la supresión, se suprime en todos los casos lo realmente vital. Y lo realmente vital se halla por debajo de lo social, por suerte de proceso de amparo, que asume el grupo social medio, subvirtiendo lo vital a las formas logradas o adquiridas. El miedo de vivir lo paraliza todo y, más aún, el miedo de vivir \"lo americano\". De esta manera, el verdadero sentido de la moralidad media o del arte medio consiste, antes que en un arte o en una moral, en un simple canon que subsume a la verdadera vida. Así toda la situación social, política, cultural o artística tiende a asesinar a la inferior y hace arte urbano matando al rural, como también se hace arte rural matando al ciudadano. El arte surge así de un miedo original que cuestiona a lo amorfo su falta de forma. La visión que un artista corriente tiene de lo americano, contiene esa irritación por la ausencia de equilibrio formal. Se refugia de inmediato en esa predisposición colectiva al estrato, a lo formal, a lo estable, llevado por una especie de pánico de que lo que está abajo pudiera destruir lo de arriba. Y en el caso de rozar algo muy hondo, que penetre lo americano, el artista o el escritor tienden sobre esa hondura un barroco conceptual sutilmente entretejido para cerrar toda posibilidad de visión o resquicio hacia lo viviente. De ahí que se mienta, porque esa es la ley. Se miente siendo federal y también se miente siendo unitario. En la esencia misma de esa actividad mentirosa yace un acto de conjuración de aquel espanto original de saber para qué se escribe, se lucha, se enseña o se vive en América. Es el amargo estar de mas o de menos en un grupo humano que se desvive únicamente por aglutinarse buscando el amparo sin saber ante qué. Segunda parte LA ESTÉTICA DE LO TENEBROSO Para una estructura moral de fuga, resulta imprescindible acentuar lo que en arte es visible y formal. La estética, implícita en nuestro ámbito, tiende a valorizar el producto artístico sobre la génesis de ese producto, o sea la obra sobre el artista."},"translated_abstract":"El problema del arte en América Latina es el problema de su vida política, social y económica. Se trata de la misma alternancia amarga entre luz y sombra, la misma reversión de lo que nos parece real y firme y nos infunde placer, por el sentimiento de lo tenebroso y una realidad amorfa y sombría. Detrás del formalismo elegante de Mitre, la fealdad heroica del Martín Fierro. El arte americano es dual, bifronte con dos caras, que mantienen entre sí un abismo similar a la oposición maldita entre Dios y el Diablo. Y es que hay una angustia original que sostiene lo perfecto y suprime lo imperfecto, y que regula las apetencias de tal modo que lo sombrío y tenebroso sea desplazado a un segundo plano. Y ello más que nada en función de una urgente apetencia que prefiere lo hecho a lo amorfo. América es la tierra de las cosas absolutamente hechas y, para amparar este criterio, se cobija detrás de antiguos mitos de represión, revitalizando, por ejemplo, una moral y un estoicismo que ya fueron abandonados en su significación absoluta por Occidente. En el fondo se trata de una cultura vieja que se replantea problemas absolutamente nuevos, solucionándolos por el lado del mito. Hay cierta ausencia de arrojo, o mejor, una sistemática sustracción de savia vital para dar a lo nuevo un contenido vigoroso. Como la urgencia de vivir subvierte los problemas, imponiendo soluciones por vía de la supresión, se suprime en todos los casos lo realmente vital. Y lo realmente vital se halla por debajo de lo social, por suerte de proceso de amparo, que asume el grupo social medio, subvirtiendo lo vital a las formas logradas o adquiridas. El miedo de vivir lo paraliza todo y, más aún, el miedo de vivir \"lo americano\". De esta manera, el verdadero sentido de la moralidad media o del arte medio consiste, antes que en un arte o en una moral, en un simple canon que subsume a la verdadera vida. Así toda la situación social, política, cultural o artística tiende a asesinar a la inferior y hace arte urbano matando al rural, como también se hace arte rural matando al ciudadano. El arte surge así de un miedo original que cuestiona a lo amorfo su falta de forma. La visión que un artista corriente tiene de lo americano, contiene esa irritación por la ausencia de equilibrio formal. Se refugia de inmediato en esa predisposición colectiva al estrato, a lo formal, a lo estable, llevado por una especie de pánico de que lo que está abajo pudiera destruir lo de arriba. Y en el caso de rozar algo muy hondo, que penetre lo americano, el artista o el escritor tienden sobre esa hondura un barroco conceptual sutilmente entretejido para cerrar toda posibilidad de visión o resquicio hacia lo viviente. De ahí que se mienta, porque esa es la ley. Se miente siendo federal y también se miente siendo unitario. En la esencia misma de esa actividad mentirosa yace un acto de conjuración de aquel espanto original de saber para qué se escribe, se lucha, se enseña o se vive en América. Es el amargo estar de mas o de menos en un grupo humano que se desvive únicamente por aglutinarse buscando el amparo sin saber ante qué. Segunda parte LA ESTÉTICA DE LO TENEBROSO Para una estructura moral de fuga, resulta imprescindible acentuar lo que en arte es visible y formal. La estética, implícita en nuestro ámbito, tiende a valorizar el producto artístico sobre la génesis de ese producto, o sea la obra sobre el artista.","internal_url":"https://www.academia.edu/42724201/KUSCH_Rodolfo_Anotaciones_para_una_estetica_de_lo_americano20200413_22044_1f88vs9","translated_internal_url":"","created_at":"2020-04-13T08:17:30.158-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":3768159,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[],"downloadable_attachments":[{"id":62939995,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62939995/thumbnails/1.jpg","file_name":"KUSCH__Rodolfo_-_Anotaciones_para_una_estetica_de_lo_americano20200413-22044-1f88vs9.pdf","download_url":"https://www.academia.edu/attachments/62939995/download_file?st=MTczMjQ3ODI4NCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"KUSCH_Rodolfo_Anotaciones_para_una_estet.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62939995/KUSCH__Rodolfo_-_Anotaciones_para_una_estetica_de_lo_americano20200413-22044-1f88vs9-libre.pdf?1586791458=\u0026response-content-disposition=attachment%3B+filename%3DKUSCH_Rodolfo_Anotaciones_para_una_estet.pdf\u0026Expires=1732388966\u0026Signature=HyqJNdUb7wdNSJZYheqLGUnVNTMgkIk2SLcJK7uy7haCQk1SbF10pUdwrVFeJNf3ajNhZM849xmyoOd3sUPVdthJJn2vBF1ke5xhv290tALcGuCJhRjX-L6QY9DHEBMBeIeXlinCsbY5YDrNICfpVIT1Fqav3BSPPp~Crmm~UbzP51AZzChsDzzChxrJ3jr9YGht~ZAi6OuxknHdnnUUoUNmiTRC1EsXfv0qO0vkyWAX8-Ol1QBRMwM~r9DA-jsEr~PXCFY2fm7QnWy3WbPDcNrcfdjc24MXApOKDFSUmH2hZ4VjlDXQMN~kVA6xtN94G4cjSs16jU2mAiiqzE-IHg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"KUSCH_Rodolfo_Anotaciones_para_una_estetica_de_lo_americano20200413_22044_1f88vs9","translated_slug":"","page_count":15,"language":"es","content_type":"Work","owner":{"id":3768159,"first_name":"Sonia","middle_initials":null,"last_name":"Gonzalez","page_name":"SoniaGonzalez2","domain_name":"independent","created_at":"2013-04-12T01:46:25.435-07:00","display_name":"Sonia Gonzalez","url":"https://independent.academia.edu/SoniaGonzalez2"},"attachments":[{"id":62939995,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62939995/thumbnails/1.jpg","file_name":"KUSCH__Rodolfo_-_Anotaciones_para_una_estetica_de_lo_americano20200413-22044-1f88vs9.pdf","download_url":"https://www.academia.edu/attachments/62939995/download_file?st=MTczMjQ3ODI4NCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"KUSCH_Rodolfo_Anotaciones_para_una_estet.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62939995/KUSCH__Rodolfo_-_Anotaciones_para_una_estetica_de_lo_americano20200413-22044-1f88vs9-libre.pdf?1586791458=\u0026response-content-disposition=attachment%3B+filename%3DKUSCH_Rodolfo_Anotaciones_para_una_estet.pdf\u0026Expires=1732388966\u0026Signature=HyqJNdUb7wdNSJZYheqLGUnVNTMgkIk2SLcJK7uy7haCQk1SbF10pUdwrVFeJNf3ajNhZM849xmyoOd3sUPVdthJJn2vBF1ke5xhv290tALcGuCJhRjX-L6QY9DHEBMBeIeXlinCsbY5YDrNICfpVIT1Fqav3BSPPp~Crmm~UbzP51AZzChsDzzChxrJ3jr9YGht~ZAi6OuxknHdnnUUoUNmiTRC1EsXfv0qO0vkyWAX8-Ol1QBRMwM~r9DA-jsEr~PXCFY2fm7QnWy3WbPDcNrcfdjc24MXApOKDFSUmH2hZ4VjlDXQMN~kVA6xtN94G4cjSs16jU2mAiiqzE-IHg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="667790" id="papers"><div class="js-work-strip profile--work_container" data-work-id="42724271"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42724271/II_CONOCIMIENTO_Y_DESOBEDIENCIA_EPIST%C3%89MICA_Walter_D_Mignolo"><img alt="Research paper thumbnail of II. CONOCIMIENTO Y DESOBEDIENCIA EPISTÉMICA- Walter D. Mignolo" class="work-thumbnail" src="https://attachments.academia-assets.com/62940075/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42724271/II_CONOCIMIENTO_Y_DESOBEDIENCIA_EPIST%C3%89MICA_Walter_D_Mignolo">II. CONOCIMIENTO Y DESOBEDIENCIA EPISTÉMICA- Walter D. Mignolo</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">II. CONOCIMIENTO Y DESOBEDIENCIA EPISTÉMICA Walter D. Mignolo</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="046896491259cdaa61a85ec16169944d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62940075,"asset_id":42724271,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62940075/download_file?st=MTczMjQ3ODI4NCw4LjIyMi4yMDguMTQ2&st=MTczMjQ3ODI4MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42724271"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42724271"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42724271; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42724271]").text(description); $(".js-view-count[data-work-id=42724271]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42724271; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42724271']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42724271, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "046896491259cdaa61a85ec16169944d" } } $('.js-work-strip[data-work-id=42724271]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42724271,"title":"II. 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Analisaremos...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">RESUMO: O estudo discute o transitar do artista Cildo Meireles pela arte conceitual. Analisaremos alguns de seus trabalhos, datados do final dos anos 1960 e dos anos 1970, que lidam de maneira mais próxima com a articulação do par objeto e linguagem. Nosso objetivo é questionar como o artista busca superar o "excesso de retórica" verbal de algumas práticas conceituais e como constrói os fluxos variáveis do pensamento que exploram a falibilidade do que parece determinado, provocam desvios e desconcertam o olhar e o raciocínio. Palavras-chave: Arte conceitual. Objeto e palavra. Arte e vida. ABSTRACT: The study discusses the transit of Cildo Meireles through conceptual art. We are going to analyse some of his works, dated from the end of the 60's and 70's, which deal with a closer way on the articulation of the pair object and word. We aim to question how the artist overcomes the verbal " rethoric excess" on some conceptual pratices and how he builds the variable trains of thought which explore the failability of what appears to be determined, provoking diversions and baffling the look and the reasoning. Key word: conceptual art, object and, art and life. Das possibilidades de "trabalhar na fronteira das coisas" O trabalho artístico de Cildo Meireles vem se construindo sobre um campo maleável, tanto na concepção de relações engendradas na materialização da obra quanto nos procedimentos de interferência que acionam a ação do espectador. Nosso estudo questiona o transitar conceitual do artista e propõe-se a discutir alguns de seus trabalhos que, no final dos anos 1960 e os anos 1970, exploram e trazem à luz o par objeto e linguagem. Sabe-se que o agenciamento da palavra e do objeto se apresenta como recurso vastamente explorado pela produção artística na pós-modernidade e, ainda, que se tem colocado como uma das problemáticas que aponta a quebra dos limites rígidos do que se convencionou designar como região própria da arte. Em trabalhos centrados na desmaterialização do objeto artístico, a palavra pode funcionar como própria matéria da arte e como única via de construção do sentido conceitual do trabalho, funcionando como enigma ou chave acionadora</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="26070b479820c794264e7e795dad7e05" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62940068,"asset_id":42724270,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62940068/download_file?st=MTczMjQ3ODI4NCw4LjIyMi4yMDguMTQ2&st=MTczMjQ3ODI4MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42724270"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42724270"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42724270; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42724270]").text(description); $(".js-view-count[data-work-id=42724270]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42724270; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42724270']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42724270, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "26070b479820c794264e7e795dad7e05" } } $('.js-work-strip[data-work-id=42724270]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42724270,"title":"CILDO MEIRELES: \"TRABALHAR NA FRONTEIRA DAS COISAS\"","translated_title":"","metadata":{"abstract":"RESUMO: O estudo discute o transitar do artista Cildo Meireles pela arte conceitual. Analisaremos alguns de seus trabalhos, datados do final dos anos 1960 e dos anos 1970, que lidam de maneira mais próxima com a articulação do par objeto e linguagem. Nosso objetivo é questionar como o artista busca superar o \"excesso de retórica\" verbal de algumas práticas conceituais e como constrói os fluxos variáveis do pensamento que exploram a falibilidade do que parece determinado, provocam desvios e desconcertam o olhar e o raciocínio. Palavras-chave: Arte conceitual. Objeto e palavra. Arte e vida. ABSTRACT: The study discusses the transit of Cildo Meireles through conceptual art. We are going to analyse some of his works, dated from the end of the 60's and 70's, which deal with a closer way on the articulation of the pair object and word. We aim to question how the artist overcomes the verbal \" rethoric excess\" on some conceptual pratices and how he builds the variable trains of thought which explore the failability of what appears to be determined, provoking diversions and baffling the look and the reasoning. Key word: conceptual art, object and, art and life. Das possibilidades de \"trabalhar na fronteira das coisas\" O trabalho artístico de Cildo Meireles vem se construindo sobre um campo maleável, tanto na concepção de relações engendradas na materialização da obra quanto nos procedimentos de interferência que acionam a ação do espectador. Nosso estudo questiona o transitar conceitual do artista e propõe-se a discutir alguns de seus trabalhos que, no final dos anos 1960 e os anos 1970, exploram e trazem à luz o par objeto e linguagem. Sabe-se que o agenciamento da palavra e do objeto se apresenta como recurso vastamente explorado pela produção artística na pós-modernidade e, ainda, que se tem colocado como uma das problemáticas que aponta a quebra dos limites rígidos do que se convencionou designar como região própria da arte. Em trabalhos centrados na desmaterialização do objeto artístico, a palavra pode funcionar como própria matéria da arte e como única via de construção do sentido conceitual do trabalho, funcionando como enigma ou chave acionadora"},"translated_abstract":"RESUMO: O estudo discute o transitar do artista Cildo Meireles pela arte conceitual. Analisaremos alguns de seus trabalhos, datados do final dos anos 1960 e dos anos 1970, que lidam de maneira mais próxima com a articulação do par objeto e linguagem. Nosso objetivo é questionar como o artista busca superar o \"excesso de retórica\" verbal de algumas práticas conceituais e como constrói os fluxos variáveis do pensamento que exploram a falibilidade do que parece determinado, provocam desvios e desconcertam o olhar e o raciocínio. Palavras-chave: Arte conceitual. Objeto e palavra. Arte e vida. ABSTRACT: The study discusses the transit of Cildo Meireles through conceptual art. We are going to analyse some of his works, dated from the end of the 60's and 70's, which deal with a closer way on the articulation of the pair object and word. We aim to question how the artist overcomes the verbal \" rethoric excess\" on some conceptual pratices and how he builds the variable trains of thought which explore the failability of what appears to be determined, provoking diversions and baffling the look and the reasoning. Key word: conceptual art, object and, art and life. Das possibilidades de \"trabalhar na fronteira das coisas\" O trabalho artístico de Cildo Meireles vem se construindo sobre um campo maleável, tanto na concepção de relações engendradas na materialização da obra quanto nos procedimentos de interferência que acionam a ação do espectador. Nosso estudo questiona o transitar conceitual do artista e propõe-se a discutir alguns de seus trabalhos que, no final dos anos 1960 e os anos 1970, exploram e trazem à luz o par objeto e linguagem. Sabe-se que o agenciamento da palavra e do objeto se apresenta como recurso vastamente explorado pela produção artística na pós-modernidade e, ainda, que se tem colocado como uma das problemáticas que aponta a quebra dos limites rígidos do que se convencionou designar como região própria da arte. Em trabalhos centrados na desmaterialização do objeto artístico, a palavra pode funcionar como própria matéria da arte e como única via de construção do sentido conceitual do trabalho, funcionando como enigma ou chave acionadora","internal_url":"https://www.academia.edu/42724270/CILDO_MEIRELES_TRABALHAR_NA_FRONTEIRA_DAS_COISAS_","translated_internal_url":"","created_at":"2020-04-13T08:24:25.709-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":3768159,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":62940068,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62940068/thumbnails/1.jpg","file_name":"angela_maria_grando_bezerra_220200413-79904-3csc8t.pdf","download_url":"https://www.academia.edu/attachments/62940068/download_file?st=MTczMjQ3ODI4NCw4LjIyMi4yMDguMTQ2&st=MTczMjQ3ODI4MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"CILDO_MEIRELES_TRABALHAR_NA_FRONTEIRA_DA.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62940068/angela_maria_grando_bezerra_220200413-79904-3csc8t-libre.pdf?1586791941=\u0026response-content-disposition=attachment%3B+filename%3DCILDO_MEIRELES_TRABALHAR_NA_FRONTEIRA_DA.pdf\u0026Expires=1732481881\u0026Signature=VIt8S1wIvtggxgCWb66n1u5GxAqOyVZ0ZvEjaeR85VE3mSev6PA6o-40C~FwqCr6HZDJSuObzwLlXWjdJto2bzlPwGj32c4wsu07-7ESOpRc-zydthAaiB7LCa7p6bG36f2qj4M6NiLfi0AaSM~RK0AZPZQZsgIqvGZGacgA-cgHIMo3q9hMJxLl6sNgqGmyNSotddimg1CqKRqABcH~l7cFwiD6NkxuVmPOChxkmvu-B~ZZLBdWpmqASuiRFtRUjJLQlUybW7zgJZJsir40gDMyOrnxRCJURYMGWG0TBxU1C2IbdlDxQLAiYG2JEs~C~B8zN18-~MSO-w~dOPGU~A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"CILDO_MEIRELES_TRABALHAR_NA_FRONTEIRA_DAS_COISAS_","translated_slug":"","page_count":15,"language":"pt","content_type":"Work","owner":{"id":3768159,"first_name":"Sonia","middle_initials":null,"last_name":"Gonzalez","page_name":"SoniaGonzalez2","domain_name":"independent","created_at":"2013-04-12T01:46:25.435-07:00","display_name":"Sonia Gonzalez","url":"https://independent.academia.edu/SoniaGonzalez2"},"attachments":[{"id":62940068,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62940068/thumbnails/1.jpg","file_name":"angela_maria_grando_bezerra_220200413-79904-3csc8t.pdf","download_url":"https://www.academia.edu/attachments/62940068/download_file?st=MTczMjQ3ODI4NCw4LjIyMi4yMDguMTQ2&st=MTczMjQ3ODI4MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"CILDO_MEIRELES_TRABALHAR_NA_FRONTEIRA_DA.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62940068/angela_maria_grando_bezerra_220200413-79904-3csc8t-libre.pdf?1586791941=\u0026response-content-disposition=attachment%3B+filename%3DCILDO_MEIRELES_TRABALHAR_NA_FRONTEIRA_DA.pdf\u0026Expires=1732481881\u0026Signature=VIt8S1wIvtggxgCWb66n1u5GxAqOyVZ0ZvEjaeR85VE3mSev6PA6o-40C~FwqCr6HZDJSuObzwLlXWjdJto2bzlPwGj32c4wsu07-7ESOpRc-zydthAaiB7LCa7p6bG36f2qj4M6NiLfi0AaSM~RK0AZPZQZsgIqvGZGacgA-cgHIMo3q9hMJxLl6sNgqGmyNSotddimg1CqKRqABcH~l7cFwiD6NkxuVmPOChxkmvu-B~ZZLBdWpmqASuiRFtRUjJLQlUybW7zgJZJsir40gDMyOrnxRCJURYMGWG0TBxU1C2IbdlDxQLAiYG2JEs~C~B8zN18-~MSO-w~dOPGU~A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="42724269"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42724269/HABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERONES_Y_VILLAS_LA_ILUSI%C3%93N_DEL_VERDE"><img alt="Research paper thumbnail of HABITAR FUERA DEL CENTRO: QUINTAS, CASERONES Y VILLAS (LA ILUSIÓN DEL VERDE" class="work-thumbnail" src="https://attachments.academia-assets.com/62940063/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42724269/HABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERONES_Y_VILLAS_LA_ILUSI%C3%93N_DEL_VERDE">HABITAR FUERA DEL CENTRO: QUINTAS, CASERONES Y VILLAS (LA ILUSIÓN DEL VERDE</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Abriendo puertas a la tierra Buenos Aires, ciudad joven, posee, sin embargo una riqueza y una com...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Abriendo puertas a la tierra Buenos Aires, ciudad joven, posee, sin embargo una riqueza y una complejidad poco frecuentes. La conurbación es tan extendida y diversa que en vez de una ciudad podríamos hablar de cien ciudades, a veces parecidas y otras tantas distintas. Existe, es cierto, un "imaginario" típico del habitar en Buenos Aires. Pero también-y ese es nuestro tema en este momento-un "imaginario" de otra forma de habitar que no es la del centro de la ciudad; es el de vivir "fuera" del centro, y no por casualidad. El 11 de junio de 1580 Juan de Garay fundó definitivamente la Ciudad de Buenos Aires. Desembarcó en el sitio elegido, izó el pendón de Castilla, plantó el rollo de la justicia y labró el Acta de Fundación. La ciudad nacía con un sentido y una misión: sería puerta y puerto del país. Tendría una razón geopolítica a escala atlántica, sudamericana y a la vez austral. En el punto geométrico en que Garay marcó el nacimiento de la ciudad, nacería también un proyecto urbano que atravesaría los siglos. Un proyecto con centro, periferia, campos, rutas y puerto. En síntesis, Buenos Aires nacía con una razón y una morfología, pero también con un ideal: habitar y gobernar, pero habitar con cierta calidad. Es una de las claves de su identidad. En 1580, luego de más de diez días de exploración de la costa para elegir el mejor sitio para el emplazamiento, Garay dispuso la traza de la futura ciudad. Rectángulo cósmico paralelo a la costa del Río de la Plata y orientado según los puntos cardinales cumpliendo con las disposiciones legales españolas para fundación de ciudades en Indias. El damero tiene 16 manzanas de frente y nueve de profundidad y alrededor se extiende el ejido. Por fuera, a 45º con respecto a la traza urbana, las chacras son bandas paralelas que, a partir de un escaso frente sobre la cresta de la barranca, se extienden hacia el interior alejándose hasta alcanzar la profundidad de una legua. Así, desde el plano al terreno, la ciudad nació con un diseño geométrico básico. Pero también allí hay un sentido higiénico. ¿No sostenía ya Aristóteles en su "Política", que entre las cosas que deben tenerse en cuenta para fundar una ciudad, "la primera y más importante es la salubridad"? Las chacras de las afueras El crecimiento de la ciudad fue muy lento durante sus primeros dos siglos de vida: pocos habitantes, pocos edificios, pocas manzanas realmente ocupadas. Durante doscientos años la traza de Garay parecía excesivamente ambiciosa para un enclave condenado a vegetar sin esperanza, limitado su puerto al cabotaje, por decisión tozuda de los intereses monopolistas centrados en el Virreinato del Perú. Buenos Aires era tan pequeña que el centro y el resto de la ciudad apenas se diferenciaban. Fuera del "centro", las construcciones se hallaban muy espaciadas. Desde muy temprano, la zona rural que empezaba en la actual Plaza San Martín y se desplegaba hacia el noroeste, se conoció como "El Pago de la Costa".</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="99c2022d5154fd1745c81d45bdcc05a7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62940063,"asset_id":42724269,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62940063/download_file?st=MTczMjQ3ODI4NCw4LjIyMi4yMDguMTQ2&st=MTczMjQ3ODI4MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42724269"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42724269"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42724269; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42724269]").text(description); $(".js-view-count[data-work-id=42724269]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42724269; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42724269']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42724269, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "99c2022d5154fd1745c81d45bdcc05a7" } } $('.js-work-strip[data-work-id=42724269]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42724269,"title":"HABITAR FUERA DEL CENTRO: QUINTAS, CASERONES Y VILLAS (LA ILUSIÓN DEL VERDE","translated_title":"","metadata":{"abstract":"Abriendo puertas a la tierra Buenos Aires, ciudad joven, posee, sin embargo una riqueza y una complejidad poco frecuentes. La conurbación es tan extendida y diversa que en vez de una ciudad podríamos hablar de cien ciudades, a veces parecidas y otras tantas distintas. Existe, es cierto, un \"imaginario\" típico del habitar en Buenos Aires. Pero también-y ese es nuestro tema en este momento-un \"imaginario\" de otra forma de habitar que no es la del centro de la ciudad; es el de vivir \"fuera\" del centro, y no por casualidad. El 11 de junio de 1580 Juan de Garay fundó definitivamente la Ciudad de Buenos Aires. Desembarcó en el sitio elegido, izó el pendón de Castilla, plantó el rollo de la justicia y labró el Acta de Fundación. La ciudad nacía con un sentido y una misión: sería puerta y puerto del país. Tendría una razón geopolítica a escala atlántica, sudamericana y a la vez austral. En el punto geométrico en que Garay marcó el nacimiento de la ciudad, nacería también un proyecto urbano que atravesaría los siglos. Un proyecto con centro, periferia, campos, rutas y puerto. En síntesis, Buenos Aires nacía con una razón y una morfología, pero también con un ideal: habitar y gobernar, pero habitar con cierta calidad. Es una de las claves de su identidad. En 1580, luego de más de diez días de exploración de la costa para elegir el mejor sitio para el emplazamiento, Garay dispuso la traza de la futura ciudad. Rectángulo cósmico paralelo a la costa del Río de la Plata y orientado según los puntos cardinales cumpliendo con las disposiciones legales españolas para fundación de ciudades en Indias. El damero tiene 16 manzanas de frente y nueve de profundidad y alrededor se extiende el ejido. Por fuera, a 45º con respecto a la traza urbana, las chacras son bandas paralelas que, a partir de un escaso frente sobre la cresta de la barranca, se extienden hacia el interior alejándose hasta alcanzar la profundidad de una legua. Así, desde el plano al terreno, la ciudad nació con un diseño geométrico básico. Pero también allí hay un sentido higiénico. ¿No sostenía ya Aristóteles en su \"Política\", que entre las cosas que deben tenerse en cuenta para fundar una ciudad, \"la primera y más importante es la salubridad\"? Las chacras de las afueras El crecimiento de la ciudad fue muy lento durante sus primeros dos siglos de vida: pocos habitantes, pocos edificios, pocas manzanas realmente ocupadas. Durante doscientos años la traza de Garay parecía excesivamente ambiciosa para un enclave condenado a vegetar sin esperanza, limitado su puerto al cabotaje, por decisión tozuda de los intereses monopolistas centrados en el Virreinato del Perú. Buenos Aires era tan pequeña que el centro y el resto de la ciudad apenas se diferenciaban. Fuera del \"centro\", las construcciones se hallaban muy espaciadas. Desde muy temprano, la zona rural que empezaba en la actual Plaza San Martín y se desplegaba hacia el noroeste, se conoció como \"El Pago de la Costa\"."},"translated_abstract":"Abriendo puertas a la tierra Buenos Aires, ciudad joven, posee, sin embargo una riqueza y una complejidad poco frecuentes. La conurbación es tan extendida y diversa que en vez de una ciudad podríamos hablar de cien ciudades, a veces parecidas y otras tantas distintas. Existe, es cierto, un \"imaginario\" típico del habitar en Buenos Aires. Pero también-y ese es nuestro tema en este momento-un \"imaginario\" de otra forma de habitar que no es la del centro de la ciudad; es el de vivir \"fuera\" del centro, y no por casualidad. El 11 de junio de 1580 Juan de Garay fundó definitivamente la Ciudad de Buenos Aires. Desembarcó en el sitio elegido, izó el pendón de Castilla, plantó el rollo de la justicia y labró el Acta de Fundación. La ciudad nacía con un sentido y una misión: sería puerta y puerto del país. Tendría una razón geopolítica a escala atlántica, sudamericana y a la vez austral. En el punto geométrico en que Garay marcó el nacimiento de la ciudad, nacería también un proyecto urbano que atravesaría los siglos. Un proyecto con centro, periferia, campos, rutas y puerto. En síntesis, Buenos Aires nacía con una razón y una morfología, pero también con un ideal: habitar y gobernar, pero habitar con cierta calidad. Es una de las claves de su identidad. En 1580, luego de más de diez días de exploración de la costa para elegir el mejor sitio para el emplazamiento, Garay dispuso la traza de la futura ciudad. Rectángulo cósmico paralelo a la costa del Río de la Plata y orientado según los puntos cardinales cumpliendo con las disposiciones legales españolas para fundación de ciudades en Indias. El damero tiene 16 manzanas de frente y nueve de profundidad y alrededor se extiende el ejido. Por fuera, a 45º con respecto a la traza urbana, las chacras son bandas paralelas que, a partir de un escaso frente sobre la cresta de la barranca, se extienden hacia el interior alejándose hasta alcanzar la profundidad de una legua. Así, desde el plano al terreno, la ciudad nació con un diseño geométrico básico. Pero también allí hay un sentido higiénico. ¿No sostenía ya Aristóteles en su \"Política\", que entre las cosas que deben tenerse en cuenta para fundar una ciudad, \"la primera y más importante es la salubridad\"? Las chacras de las afueras El crecimiento de la ciudad fue muy lento durante sus primeros dos siglos de vida: pocos habitantes, pocos edificios, pocas manzanas realmente ocupadas. Durante doscientos años la traza de Garay parecía excesivamente ambiciosa para un enclave condenado a vegetar sin esperanza, limitado su puerto al cabotaje, por decisión tozuda de los intereses monopolistas centrados en el Virreinato del Perú. Buenos Aires era tan pequeña que el centro y el resto de la ciudad apenas se diferenciaban. Fuera del \"centro\", las construcciones se hallaban muy espaciadas. Desde muy temprano, la zona rural que empezaba en la actual Plaza San Martín y se desplegaba hacia el noroeste, se conoció como \"El Pago de la Costa\".","internal_url":"https://www.academia.edu/42724269/HABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERONES_Y_VILLAS_LA_ILUSI%C3%93N_DEL_VERDE","translated_internal_url":"","created_at":"2020-04-13T08:24:25.538-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":3768159,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":62940063,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62940063/thumbnails/1.jpg","file_name":"Habitar_fuera_del_centro-Brandariz20200413-51220-1iq6kd3.pdf","download_url":"https://www.academia.edu/attachments/62940063/download_file?st=MTczMjQ3ODI4NCw4LjIyMi4yMDguMTQ2&st=MTczMjQ3ODI4MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"HABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERON.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62940063/Habitar_fuera_del_centro-Brandariz20200413-51220-1iq6kd3-libre.pdf?1586791934=\u0026response-content-disposition=attachment%3B+filename%3DHABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERON.pdf\u0026Expires=1732481881\u0026Signature=ag4uIG4jV1j5yo~L4rC8Zq4d6II~avjSMEd9whOge6i84nCe7QBZbz8CIlgo5nVrPp6SbcpUxrUDCE3Py03nByA7bcUXh3s2FhsYiPy4dG0hvp3CFVpcNBJZ35cajLxDXHGYQLomXiILMSnCz42nayLwzEQq2dDvDfYRFHSTQZJkmeHZmeBmxDfUFiuOux0cWVWNmq6BSk7lDgyyqDh97gsOo4QHB-NdGKiyE8N6JqKf2V1UOIxX8cBnCwcB~Ne5S5sSliKK7fzGVWajHPPu79UrlmGUcBtQzVefr~n7jPiZIJJ~ge9AtbiYabvk1KwWojDY-RmbuAoLWbd0QIHTGg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"HABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERONES_Y_VILLAS_LA_ILUSIÓN_DEL_VERDE","translated_slug":"","page_count":28,"language":"es","content_type":"Work","owner":{"id":3768159,"first_name":"Sonia","middle_initials":null,"last_name":"Gonzalez","page_name":"SoniaGonzalez2","domain_name":"independent","created_at":"2013-04-12T01:46:25.435-07:00","display_name":"Sonia Gonzalez","url":"https://independent.academia.edu/SoniaGonzalez2"},"attachments":[{"id":62940063,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/62940063/thumbnails/1.jpg","file_name":"Habitar_fuera_del_centro-Brandariz20200413-51220-1iq6kd3.pdf","download_url":"https://www.academia.edu/attachments/62940063/download_file?st=MTczMjQ3ODI4NCw4LjIyMi4yMDguMTQ2&st=MTczMjQ3ODI4MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"HABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERON.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/62940063/Habitar_fuera_del_centro-Brandariz20200413-51220-1iq6kd3-libre.pdf?1586791934=\u0026response-content-disposition=attachment%3B+filename%3DHABITAR_FUERA_DEL_CENTRO_QUINTAS_CASERON.pdf\u0026Expires=1732481881\u0026Signature=ag4uIG4jV1j5yo~L4rC8Zq4d6II~avjSMEd9whOge6i84nCe7QBZbz8CIlgo5nVrPp6SbcpUxrUDCE3Py03nByA7bcUXh3s2FhsYiPy4dG0hvp3CFVpcNBJZ35cajLxDXHGYQLomXiILMSnCz42nayLwzEQq2dDvDfYRFHSTQZJkmeHZmeBmxDfUFiuOux0cWVWNmq6BSk7lDgyyqDh97gsOo4QHB-NdGKiyE8N6JqKf2V1UOIxX8cBnCwcB~Ne5S5sSliKK7fzGVWajHPPu79UrlmGUcBtQzVefr~n7jPiZIJJ~ge9AtbiYabvk1KwWojDY-RmbuAoLWbd0QIHTGg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="42724268"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42724268/Manifiesto_afectivista_Brian_Holmes"><img alt="Research paper thumbnail of Manifiesto afectivista (Brian Holmes" class="work-thumbnail" src="https://attachments.academia-assets.com/62940054/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42724268/Manifiesto_afectivista_Brian_Holmes">Manifiesto afectivista (Brian Holmes</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Traducción de Javier Toscano revisada por Brian Holmes En el siglo XX, el arte se juzgó de acuerd...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Traducción de Javier Toscano revisada por Brian Holmes En el siglo XX, el arte se juzgó de acuerdo con el estado existente del medio. Lo que importaba era el tipo de ruptura que hacía, los elementos formales e inesperados que aportaba, la manera en que desplazaba las convenciones del género o la tradición. La recompensa al final del proceso de evaluación era un sentido distinto de lo que el arte podía ser, un nuevo ámbito de posibilidades para lo estético. Hoy todo eso ha cambiado definitivamente. El trasfondo frente al cual el arte se sitúa ahora es un estado particular de la sociedad. Lo que una instalación, un performance, un concepto o una imagen mediada pueden hacer con sus medios formales y semióticos es marcar un cambio posible o real respecto de las leyes, las costumbres, las medidas, las nociones de civilidad, los dispositivos técnicos o los organizacionales que definen cómo debemos de comportarnos y cómo debemos relacionarnos unos a otros en determinado tiempo y lugar. Lo que hoy en día buscamos en el arte es una manera diferente de vivir, una oportunidad fresca de coexistencia. ¿Cómo es que esa oportunidad viene a darse? La expresión libera afecto, y el afecto es lo que mueve. La presencia, la gestualización y el habla transforman la cualidad del contacto entre las personas, crean tanto quiebres como junturas, y las técnicas expresivas del arte pueden multiplicar estos cambios inmediatos a lo largo de miles de caminos de la mente y los sentidos. Un evento artístico no requiere de un juez objetivo. Sabes que ha ocurrido cuando en su estela tú puedes traer algo más a la existencia. El activismo artístico es un afectivismo, abre y expande territorios. Estos territorios se ocupan con el compartir de una experiencia doble: una partición del yo privado en el que cada persona se halla encubierto, y del orden social que ha impuesto esa forma particular de privacidad o privación. Cuando un territorio de posibilidad emerge, cambia el mapa social, tal como una avalancha, una inundación o un volcán lo hacen en la naturaleza. La manera más fácil en que la sociedad protege su forma existente es la simple negación, pretendiendo que el cambio nunca ha tenido lugar: y eso de hecho funciona en el</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="aa16f9274500fcda37c174c332e16801" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62940054,"asset_id":42724268,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62940054/download_file?st=MTczMjQ3ODI4NCw4LjIyMi4yMDguMTQ2&st=MTczMjQ3ODI4Miw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42724268"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42724268"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42724268; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42724268]").text(description); $(".js-view-count[data-work-id=42724268]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42724268; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42724268']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42724268, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "aa16f9274500fcda37c174c332e16801" } } $('.js-work-strip[data-work-id=42724268]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42724268,"title":"Manifiesto afectivista (Brian Holmes","translated_title":"","metadata":{"abstract":"Traducción de Javier Toscano revisada por Brian Holmes En el siglo XX, el arte se juzgó de acuerdo con el estado existente del medio. Lo que importaba era el tipo de ruptura que hacía, los elementos formales e inesperados que aportaba, la manera en que desplazaba las convenciones del género o la tradición. La recompensa al final del proceso de evaluación era un sentido distinto de lo que el arte podía ser, un nuevo ámbito de posibilidades para lo estético. Hoy todo eso ha cambiado definitivamente. El trasfondo frente al cual el arte se sitúa ahora es un estado particular de la sociedad. Lo que una instalación, un performance, un concepto o una imagen mediada pueden hacer con sus medios formales y semióticos es marcar un cambio posible o real respecto de las leyes, las costumbres, las medidas, las nociones de civilidad, los dispositivos técnicos o los organizacionales que definen cómo debemos de comportarnos y cómo debemos relacionarnos unos a otros en determinado tiempo y lugar. Lo que hoy en día buscamos en el arte es una manera diferente de vivir, una oportunidad fresca de coexistencia. ¿Cómo es que esa oportunidad viene a darse? La expresión libera afecto, y el afecto es lo que mueve. La presencia, la gestualización y el habla transforman la cualidad del contacto entre las personas, crean tanto quiebres como junturas, y las técnicas expresivas del arte pueden multiplicar estos cambios inmediatos a lo largo de miles de caminos de la mente y los sentidos. Un evento artístico no requiere de un juez objetivo. Sabes que ha ocurrido cuando en su estela tú puedes traer algo más a la existencia. El activismo artístico es un afectivismo, abre y expande territorios. Estos territorios se ocupan con el compartir de una experiencia doble: una partición del yo privado en el que cada persona se halla encubierto, y del orden social que ha impuesto esa forma particular de privacidad o privación. 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Lo que una instalación, un performance, un concepto o una imagen mediada pueden hacer con sus medios formales y semióticos es marcar un cambio posible o real respecto de las leyes, las costumbres, las medidas, las nociones de civilidad, los dispositivos técnicos o los organizacionales que definen cómo debemos de comportarnos y cómo debemos relacionarnos unos a otros en determinado tiempo y lugar. Lo que hoy en día buscamos en el arte es una manera diferente de vivir, una oportunidad fresca de coexistencia. ¿Cómo es que esa oportunidad viene a darse? La expresión libera afecto, y el afecto es lo que mueve. La presencia, la gestualización y el habla transforman la cualidad del contacto entre las personas, crean tanto quiebres como junturas, y las técnicas expresivas del arte pueden multiplicar estos cambios inmediatos a lo largo de miles de caminos de la mente y los sentidos. Un evento artístico no requiere de un juez objetivo. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="10294758" id="drafts"><div class="js-work-strip profile--work_container" data-work-id="42724201"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42724201/KUSCH_Rodolfo_Anotaciones_para_una_estetica_de_lo_americano20200413_22044_1f88vs9"><img alt="Research paper thumbnail of KUSCH Rodolfo Anotaciones para una estetica de lo americano20200413 22044 1f88vs9" class="work-thumbnail" src="https://attachments.academia-assets.com/62939995/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42724201/KUSCH_Rodolfo_Anotaciones_para_una_estetica_de_lo_americano20200413_22044_1f88vs9">KUSCH Rodolfo Anotaciones para una estetica de lo americano20200413 22044 1f88vs9</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El problema del arte en América Latina es el problema de su vida política, social y económica. Se...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El problema del arte en América Latina es el problema de su vida política, social y económica. Se trata de la misma alternancia amarga entre luz y sombra, la misma reversión de lo que nos parece real y firme y nos infunde placer, por el sentimiento de lo tenebroso y una realidad amorfa y sombría. Detrás del formalismo elegante de Mitre, la fealdad heroica del Martín Fierro. El arte americano es dual, bifronte con dos caras, que mantienen entre sí un abismo similar a la oposición maldita entre Dios y el Diablo. Y es que hay una angustia original que sostiene lo perfecto y suprime lo imperfecto, y que regula las apetencias de tal modo que lo sombrío y tenebroso sea desplazado a un segundo plano. Y ello más que nada en función de una urgente apetencia que prefiere lo hecho a lo amorfo. América es la tierra de las cosas absolutamente hechas y, para amparar este criterio, se cobija detrás de antiguos mitos de represión, revitalizando, por ejemplo, una moral y un estoicismo que ya fueron abandonados en su significación absoluta por Occidente. En el fondo se trata de una cultura vieja que se replantea problemas absolutamente nuevos, solucionándolos por el lado del mito. Hay cierta ausencia de arrojo, o mejor, una sistemática sustracción de savia vital para dar a lo nuevo un contenido vigoroso. Como la urgencia de vivir subvierte los problemas, imponiendo soluciones por vía de la supresión, se suprime en todos los casos lo realmente vital. Y lo realmente vital se halla por debajo de lo social, por suerte de proceso de amparo, que asume el grupo social medio, subvirtiendo lo vital a las formas logradas o adquiridas. El miedo de vivir lo paraliza todo y, más aún, el miedo de vivir "lo americano". De esta manera, el verdadero sentido de la moralidad media o del arte medio consiste, antes que en un arte o en una moral, en un simple canon que subsume a la verdadera vida. Así toda la situación social, política, cultural o artística tiende a asesinar a la inferior y hace arte urbano matando al rural, como también se hace arte rural matando al ciudadano. El arte surge así de un miedo original que cuestiona a lo amorfo su falta de forma. La visión que un artista corriente tiene de lo americano, contiene esa irritación por la ausencia de equilibrio formal. Se refugia de inmediato en esa predisposición colectiva al estrato, a lo formal, a lo estable, llevado por una especie de pánico de que lo que está abajo pudiera destruir lo de arriba. Y en el caso de rozar algo muy hondo, que penetre lo americano, el artista o el escritor tienden sobre esa hondura un barroco conceptual sutilmente entretejido para cerrar toda posibilidad de visión o resquicio hacia lo viviente. De ahí que se mienta, porque esa es la ley. Se miente siendo federal y también se miente siendo unitario. En la esencia misma de esa actividad mentirosa yace un acto de conjuración de aquel espanto original de saber para qué se escribe, se lucha, se enseña o se vive en América. Es el amargo estar de mas o de menos en un grupo humano que se desvive únicamente por aglutinarse buscando el amparo sin saber ante qué. Segunda parte LA ESTÉTICA DE LO TENEBROSO Para una estructura moral de fuga, resulta imprescindible acentuar lo que en arte es visible y formal. La estética, implícita en nuestro ámbito, tiende a valorizar el producto artístico sobre la génesis de ese producto, o sea la obra sobre el artista.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c06b56131e721dde0b7d2844b6308c25" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62939995,"asset_id":42724201,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62939995/download_file?st=MTczMjQ3ODI4NCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42724201"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42724201"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42724201; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42724201]").text(description); $(".js-view-count[data-work-id=42724201]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42724201; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42724201']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42724201, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c06b56131e721dde0b7d2844b6308c25" } } $('.js-work-strip[data-work-id=42724201]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42724201,"title":"KUSCH Rodolfo Anotaciones para una estetica de lo americano20200413 22044 1f88vs9","translated_title":"","metadata":{"abstract":"El problema del arte en América Latina es el problema de su vida política, social y económica. Se trata de la misma alternancia amarga entre luz y sombra, la misma reversión de lo que nos parece real y firme y nos infunde placer, por el sentimiento de lo tenebroso y una realidad amorfa y sombría. Detrás del formalismo elegante de Mitre, la fealdad heroica del Martín Fierro. El arte americano es dual, bifronte con dos caras, que mantienen entre sí un abismo similar a la oposición maldita entre Dios y el Diablo. Y es que hay una angustia original que sostiene lo perfecto y suprime lo imperfecto, y que regula las apetencias de tal modo que lo sombrío y tenebroso sea desplazado a un segundo plano. Y ello más que nada en función de una urgente apetencia que prefiere lo hecho a lo amorfo. América es la tierra de las cosas absolutamente hechas y, para amparar este criterio, se cobija detrás de antiguos mitos de represión, revitalizando, por ejemplo, una moral y un estoicismo que ya fueron abandonados en su significación absoluta por Occidente. En el fondo se trata de una cultura vieja que se replantea problemas absolutamente nuevos, solucionándolos por el lado del mito. Hay cierta ausencia de arrojo, o mejor, una sistemática sustracción de savia vital para dar a lo nuevo un contenido vigoroso. Como la urgencia de vivir subvierte los problemas, imponiendo soluciones por vía de la supresión, se suprime en todos los casos lo realmente vital. Y lo realmente vital se halla por debajo de lo social, por suerte de proceso de amparo, que asume el grupo social medio, subvirtiendo lo vital a las formas logradas o adquiridas. El miedo de vivir lo paraliza todo y, más aún, el miedo de vivir \"lo americano\". De esta manera, el verdadero sentido de la moralidad media o del arte medio consiste, antes que en un arte o en una moral, en un simple canon que subsume a la verdadera vida. Así toda la situación social, política, cultural o artística tiende a asesinar a la inferior y hace arte urbano matando al rural, como también se hace arte rural matando al ciudadano. El arte surge así de un miedo original que cuestiona a lo amorfo su falta de forma. La visión que un artista corriente tiene de lo americano, contiene esa irritación por la ausencia de equilibrio formal. Se refugia de inmediato en esa predisposición colectiva al estrato, a lo formal, a lo estable, llevado por una especie de pánico de que lo que está abajo pudiera destruir lo de arriba. Y en el caso de rozar algo muy hondo, que penetre lo americano, el artista o el escritor tienden sobre esa hondura un barroco conceptual sutilmente entretejido para cerrar toda posibilidad de visión o resquicio hacia lo viviente. De ahí que se mienta, porque esa es la ley. Se miente siendo federal y también se miente siendo unitario. En la esencia misma de esa actividad mentirosa yace un acto de conjuración de aquel espanto original de saber para qué se escribe, se lucha, se enseña o se vive en América. Es el amargo estar de mas o de menos en un grupo humano que se desvive únicamente por aglutinarse buscando el amparo sin saber ante qué. Segunda parte LA ESTÉTICA DE LO TENEBROSO Para una estructura moral de fuga, resulta imprescindible acentuar lo que en arte es visible y formal. La estética, implícita en nuestro ámbito, tiende a valorizar el producto artístico sobre la génesis de ese producto, o sea la obra sobre el artista."},"translated_abstract":"El problema del arte en América Latina es el problema de su vida política, social y económica. Se trata de la misma alternancia amarga entre luz y sombra, la misma reversión de lo que nos parece real y firme y nos infunde placer, por el sentimiento de lo tenebroso y una realidad amorfa y sombría. Detrás del formalismo elegante de Mitre, la fealdad heroica del Martín Fierro. El arte americano es dual, bifronte con dos caras, que mantienen entre sí un abismo similar a la oposición maldita entre Dios y el Diablo. Y es que hay una angustia original que sostiene lo perfecto y suprime lo imperfecto, y que regula las apetencias de tal modo que lo sombrío y tenebroso sea desplazado a un segundo plano. Y ello más que nada en función de una urgente apetencia que prefiere lo hecho a lo amorfo. América es la tierra de las cosas absolutamente hechas y, para amparar este criterio, se cobija detrás de antiguos mitos de represión, revitalizando, por ejemplo, una moral y un estoicismo que ya fueron abandonados en su significación absoluta por Occidente. En el fondo se trata de una cultura vieja que se replantea problemas absolutamente nuevos, solucionándolos por el lado del mito. Hay cierta ausencia de arrojo, o mejor, una sistemática sustracción de savia vital para dar a lo nuevo un contenido vigoroso. Como la urgencia de vivir subvierte los problemas, imponiendo soluciones por vía de la supresión, se suprime en todos los casos lo realmente vital. Y lo realmente vital se halla por debajo de lo social, por suerte de proceso de amparo, que asume el grupo social medio, subvirtiendo lo vital a las formas logradas o adquiridas. El miedo de vivir lo paraliza todo y, más aún, el miedo de vivir \"lo americano\". De esta manera, el verdadero sentido de la moralidad media o del arte medio consiste, antes que en un arte o en una moral, en un simple canon que subsume a la verdadera vida. Así toda la situación social, política, cultural o artística tiende a asesinar a la inferior y hace arte urbano matando al rural, como también se hace arte rural matando al ciudadano. El arte surge así de un miedo original que cuestiona a lo amorfo su falta de forma. La visión que un artista corriente tiene de lo americano, contiene esa irritación por la ausencia de equilibrio formal. Se refugia de inmediato en esa predisposición colectiva al estrato, a lo formal, a lo estable, llevado por una especie de pánico de que lo que está abajo pudiera destruir lo de arriba. Y en el caso de rozar algo muy hondo, que penetre lo americano, el artista o el escritor tienden sobre esa hondura un barroco conceptual sutilmente entretejido para cerrar toda posibilidad de visión o resquicio hacia lo viviente. De ahí que se mienta, porque esa es la ley. Se miente siendo federal y también se miente siendo unitario. En la esencia misma de esa actividad mentirosa yace un acto de conjuración de aquel espanto original de saber para qué se escribe, se lucha, se enseña o se vive en América. Es el amargo estar de mas o de menos en un grupo humano que se desvive únicamente por aglutinarse buscando el amparo sin saber ante qué. Segunda parte LA ESTÉTICA DE LO TENEBROSO Para una estructura moral de fuga, resulta imprescindible acentuar lo que en arte es visible y formal. 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