El Lugar a Través del Conflicto : rituales y Estéticas en la Construcción de Símbolos Territoriales y Culturales
The place through conflict. Rituals and aesthetics in the construction of territorial and cultural symbols, attempts to analyse from a symbolic plane, places crossed by territorial urban conflicts in which the technological imaginary of acceleration, progress, or the future appear as transforming ag...
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| Tipo de recurso: | tesis doctoral |
| Fecha de publicación: | 2024 |
| País: | España |
| Institución: | Universidad Complutense de Madrid (UCM) |
| Repositorio: | Docta Complutense |
| Idioma: | español |
| OAI Identifier: | oai:docta.ucm.es:20.500.14352/92200 |
| Acceso en línea: | https://hdl.handle.net/20.500.14352/92200 |
| Access Level: | acceso abierto |
| Palabra clave: | 711.4(73)(043.2) Escultura Sculpture |
| Sumario: | The place through conflict. Rituals and aesthetics in the construction of territorial and cultural symbols, attempts to analyse from a symbolic plane, places crossed by territorial urban conflicts in which the technological imaginary of acceleration, progress, or the future appear as transforming agents upon the environment. From this prism, and by highlighting diverse artistic approaches of both high and low culture, the research examines the aesthetic consequences of temporal and spatial alterations caused by technologies on territories. These transformations are addressed by looking at the impact that highways have had on urban organisation and zoning, as well as on the control of mobilities. Within this field, this thesis focuses on a case study approached from an artistic practice: the passage of the I-95-a section of the U.S. Interstate Highway System-, through the city of Miami. The African-American neighbourhood of Overtown was divided in two when a gigantic overpass was built in its heart, displacing thousands of families and small businesses. The social and cultural fabric of the neighbourhood, largely organised around music, was destroyed, and the area entered a spiral of decay that transformed the historic ghetto of the 1930s -when Overtown was popularly known as the Harlem of the South-, into what became called a "hyperghetto" by the end of the twentieth century. From this case study it has been possible to identify a model or pattern through which a whole cultural imaginary has emerged in relation to the freeway, roads and paths.Thus, this research has traced works that depict a conflict of both territorial and identity tensions. Their observation reveal the strategies, both urbanistic and propagandistic, of the implementation of highways and technological systems associated with them; key issues when rethinking the construction of concepts related to ideas of progress. The investigation, therefore, starts from a specific event: the passage of the I-95 highway through Overtown, and then moves on to catalogue artistic productions –whether sound. or visual–, that traverse similar places and events which reflect the impact of these urban constructions. This thesis is structured through a visual essay where the images, their arrangement and classification, articulate a network that draws an analogy with highway systems. Selfauthored images, collected through fieldwork in the city of Miami, are assembled with others from diferent archives; press, publications, work of artists and activists. This visual essay makes up the body of the thesis, and is organised according to a logic that implies a relationship between temporal and spatial axis. In this way, the research process is constructed as a sort of logbook or travel diary. Dialectic relationships established by the diferent languages of images and/or realities (experience-archivepress), link the sequence of diverse proposals generated from art or popular cultures. These include artists’ publications, cinematographic fictions, actions, interventions, murals, paintings, music, lyrics and sounds related to the road –and, by extension, to communication media. The order, arrangement and classification of the photographic and corresponding data make the researchan image-text assembly, according to the methodologies of artistic practices linked to the visual essay and the archive. Images of this kind of archive compose a map-script that looks towards the imaginary of the road and its afinities with practices of displacement. |
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